Prelude_e.

book Page 1 Wednesday, January 14, 2009 2:18 PM

Owner’s Manual
201a

Before using this unit, carefully read the sections entitled: “Using the unit safely” (p. 3) and
“Important notes” (p. 5). These sections provide important information concerning the proper
operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of
every feature provided by your new unit, this owner’s manual should be read in its entirety. The
manual should be saved and kept on hand as a convenient reference.

Conventions Used in This Manual

Operating buttons are enclosed by square brackets [ ]; e.g., [ENTER].
Reference pages are indicated by (p. **).

The following symbols are used.

This indicates an important note; be sure to read it.
This indicates a memo regarding the setting or function; read it as desired.
This indicates a useful hint for operation; read it as necessary.
This indicates information for your reference; read it as necessary.
This indicates an explanation of a term; read it as necessary.

* The explanations in this manual include illustrations that depict what should typically be shown by
the display. Note, however, that your unit may incorporate a newer, enhanced version of the
system (e.g., includes newer sounds), so what you actually see in the display may not always
match what appears in the manual.

202
Copyright © 2009 ROLAND EUROPE Spa
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND EUROPE.
Prelude_e.book Page 2 Wednesday, January 14, 2009 2:18 PM

For the U.K.

Prelude_PL.fm Page 3 Wednesday, January 14, 2009 4:19 PM

Using the unit safely

About WARNING and CAUTION Notices About the Symbols

The symbol alerts the user to important instructions or
Used for instructions intended to alert the warnings.The specific meaning of the symbol is
user to the risk of death or severe injury determined by the design contained within the triangle. In
should the unit be used improperly. 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 The symbol alerts the user to items that must never be
damage should the unit be used carried out (are forbidden). The specific thing that must
improperly. not be done is indicated by the design contained within
the circle. In the case of the symbol at left, it means that
* Material damage refers to damage or the unit must never be disassembled.
other adverse effects caused with
respect to the home and all its The symbol alerts the user to things that must be
furnishings, as well to domestic animals carried out. The specific thing that must be done is
or pets. 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.

ALWAYS OBSERVE THE FOLLOWING

006
• When using the unit with a rack or stand recom-
mended by Roland, the rack or stand must be
002c carefully placed so it is level and sure to remain
• Do not open (or modify in any way) the unit or its AC
stable. If not using a rack or stand, you still need to
adaptor.
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.
................................................................................................................................. .................................................................................................................................
003
008c
• Do not attempt to repair the unit, or replace parts • Be sure to use only the AC adaptor supplied with the
within it (except when this manual provides specific unit. Also, make sure the line voltage at the instal-
instructions directing you to do so). Refer all servicing lation matches the input voltage specified on the AC
to your retailer, the nearest Roland Service Center, or adaptor’s body. Other AC adaptors may use a
an authorized Roland distributor, as listed on the different polarity, or be designed for a different
“Information” page. voltage, so their use could result in damage,
................................................................................................................................. malfunction, or electric shock.
004
• Never install the unit in any of the following .................................................................................................................................
008e
locations. • Use only the attached power-supply cord. Also, the
• Subject to temperature extremes (e.g., direct sunlight in supplied power cord must not be used with any other
an enclosed vehicle, near a heating duct, on top of device.
heat-generating equipment); or are
• Damp (e.g., baths, washrooms, on wet floors); or are
.................................................................................................................................
• Exposed to steam or smoke; or are 009
• Subject to salt exposure; or are • Do not excessively twist or bend the power cord, nor
place heavy objects on it. Doing so can damage the
• Humid; or are
cord, producing severed elements and short circuits.
• Exposed to rain; or are Damaged cords are fire and shock hazards!
• Dusty or sandy; or are .................................................................................................................................
• Subject to high levels of vibration and shakiness. 010
• This unit, either alone or in combination with an
.................................................................................................................................
005 amplifier and headphones or speakers, may be
• This unit should be used only with a rack or stand capable of producing sound levels that could cause
that is recommended by Roland. 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.
.................................................................................................................................

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011 101b
• Do not allow any objects (e.g., flammable material, • The unit and the AC adaptor should be located so
coins, pins); or liquids of any kind (water, soft drinks, their location or position does not interfere with their
etc.) to penetrate the unit. proper ventilation.

.................................................................................................................................
101c
• The Prelude is for use only with a Roland KS-12
stand (or cart). Use with other stands (or carts) is
capable of resulting in instability causing possible
................................................................................................................................. injury.
012b
• Immediately turn the power off, remove the AC .................................................................................................................................
adaptor from the outlet, and request servicing by • Always grasp only the plug on the AC adaptor cord
your retailer, the nearest Roland Service Center, or when plugging into, or unplugging from, an outlet or
an authorized Roland distributor, as listed on the this unit.
“Information” page when:
• The AC adaptor, the power-supply cord, or the plug has been .................................................................................................................................
damaged; or 103b
• At regular intervals, you should unplug the AC
• If smoke or unusual odor occurs
adaptor and clean it by using a dry cloth to wipe all
• Objects have fallen into, or liquid has been spilled onto the unit; or dust and other accumulations away from its prongs.
• The unit has been exposed to rain (or otherwise has become wet); or Also, disconnect the power plug from the power
• The unit does not appear to operate normally or exhibits a marked outlet whenever the unit is to remain unused for an
change in performance. extended period of time. Any accumulation of dust between the
................................................................................................................................. power plug and the power outlet can result in poor insulation and
013 lead to fire.
• In households with small children, an adult should .................................................................................................................................
provide supervision until the child is capable of 104
following all the rules essential for the safe operation • Try to prevent cords and cables from becoming
of the unit. entangled. Also, all cords and cables should be
................................................................................................................................. placed so they are out of the reach of children.
014
• Protect the unit from strong impact. .................................................................................................................................
(Do not drop it!) 106
• Never climb on top of, nor place heavy objects on
the unit.
.................................................................................................................................
015
• Do not force the unit’s power-supply cord to share an .................................................................................................................................
outlet with an unreasonable number of other devices. 107c
• Never handle the AC adaptor or its plugs with wet
Be especially careful when using extension cords—
hands when plugging into, or unplugging from, an
the total power used by all devices you have
outlet or this unit.
connected to the extension cord’s outlet must never
exceed the power rating (watts/amperes) for the extension cord.
Excessive loads can cause the insulation on the cord to heat up .................................................................................................................................
and eventually melt through. 108b
................................................................................................................................. • Before moving the unit, disconnect the AC adaptor
016 and all cords coming from external devices.
• 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. 109b
................................................................................................................................. • Before cleaning the unit, turn off the power and
023 unplug the AC adaptor from the outlet (p. 14).
• DO NOT play a CD-ROM disc on a conventional
audio CD player. The resulting sound may be of a
level that could cause permanent hearing loss. .................................................................................................................................
Damage to speakers or other system components 110b
may result. • Whenever you suspect the possibility of lightning in
................................................................................................................................. your area, disconnect the AC adaptor from the outlet.

.................................................................................................................................

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Important notes
In addition to the items listed under “Using the unit safely” (p. 3), please read and observe the following:

Power Supply Repairs and Data

• Do not connect this unit to same electrical outlet that is being used • Please be aware that all data contained in the unit’s memory may
by an electrical appliance that is controlled by an inverter (such as be lost when the unit is sent for repairs. Important data should
a refrigerator, washing machine, microwave oven, or air condi- always be backed up a USB memory, or written down on paper
tioner), or that contains a motor. Depending on the way in which (when possible). During repairs, due care is taken to avoid the loss
the electrical appliance is used, power supply noise may cause this of data. However, in certain cases (such as when circuitry related
unit to malfunction or may produce audible noise. If it is not to memory itself is out of order), we regret that it may not be
practical to use a separate electrical outlet, connect a power possible to restore the data, and Roland assumes no liability
supply noise filter between this unit and the electrical outlet. concerning such loss of data.
• The AC adaptor will begin to generate heat after long hours of
consecutive use. This is normal, and is not a cause for concern. Memory Backup
• Before connecting this unit to other devices, turn off the power to
all units. This will help prevent malfunctions and/or damage to Additional Precautions
speakers or other devices.
• Please be aware that the contents of memory can be irretrievably
• This device may interfere with radio and television reception. Do lost as a result of a malfunction, or the improper operation of the
not use this device in the vicinity of such receivers. unit. To protect yourself against the risk of loosing important data,
• Noise may be produced if wireless communications devices, such we recommend that you periodically save a backup copy of
as cell phones, are operated in the vicinity of the Prelude. Such important data you have stored in the unit’s memory to a USB
noise could occur when receiving or initiating a call, or while memory.
conversing. Should you experience such problems, you should • Unfortunately, it may be impossible to restore the contents of data
relocate such wireless devices so they are at a greater distance that was stored in the Prelude’s internal memory or on USB
from this unit, or switch them off. memory once it has been lost. Roland Europe assumes no liability
concerning such loss of data.
Placement • Use a reasonable amount of care when using the unit’s buttons,
• Using the unit near power amplifiers (or other equipment sliders, or other controls; and when using its jacks and connectors.
containing large power transformers) may induce hum. To alleviate Rough handling can lead to malfunctions.
the problem, change the orientation of this unit; or move it farther • Never strike or apply strong pressure to the display.
away from the source of interference. • When connecting / disconnecting all cables, grasp the connector
• This device may interfere with radio and television reception. Do itself—never pull on the cable. This way you will avoid causing
not use this device in the vicinity of such receivers. shorts, or damage to the cable’s internal elements.
• Noise may be produced if wireless communications devices, such • To avoid disturbing your neighbors, try to keep the unit’s volume at
as cell phones, are operated in the vicinity of this unit. Such noise reasonable levels. You may prefer to use headphones, so you do
could occur when receiving or initiating a call, or while not need to be concerned about those around you (especially
conversing. Should you experience such problems, you should when it is late at night).
relocate such wireless devices so they are at a greater distance • When you need to transport the unit, package it in the box
from this unit, or switch them off. (including padding) that it came in, if possible. Otherwise, you will
• Do not expose the unit to direct sunlight, place it near devices that need to use equivalent packaging materials.
radiate heat, leave it inside an enclosed vehicle, or otherwise • Do not apply undue force to the music stand while it is in use.
subject it to temperature extremes. Excessive heat can deform or
• Use only the specified expression pedal (EV-5; sold separately). By
discolor the unit.
connecting any other expression pedals, you risk causing
• When moved from one location to another where the temperature malfunction and/or damage to the unit.
and/or humidity is very different, water droplets (condensation)
• Some connection cables contain resistors. Do not use cables that
may form inside the unit. Damage or malfunction may result if you
incorporate resistors for connecting to this unit. The use of such
attempt to use the unit in this condition. Therefore, before using the
cables can cause the sound level to be extremely low, or impos-
unit, you must allow it to stand for several hours, until the conden-
sible to hear. For information on cable specifications, contact the
sation has completely evaporated.
manufacturer of the cable.
• Do not allow objects to remain on top of the keyboard. This can be
• The sensitivity of the D Beam controller will change depending on
the cause of malfunction, such as keys ceasing to produce sound.
the amount of light in the vicinity of the unit. If it does not function
• Depending on the material and temperature of the surface on as you expect, adjust the sensitivity as appropriate for the
which you place the unit, its rubber feet may discolor or mar the brightness of your location.
surface.
You can place a piece of felt or cloth under the rubber feet to
prevent this from happening. If you do so, please make sure that
the unit will not slip or move accidentally.
Using USB Memory
• When connecting USB memory, firmly insert it all the way in.
Maintenance • Do not touch the pins of the USB memory connector, or allow them
to become dirty.
• For everyday cleaning wipe the unit with a soft, dry cloth or one
that has been slightly dampened with water. To remove stubborn • USB memory is made using high-precision electronic components,
dirt, use a cloth impregnated with a mild, non-abrasive detergent. so please observe the following points when handling it.
Afterwards, be sure to wipe the unit thoroughly with a soft, dry • To prevent damage from static electrical charges, discharge
cloth. any static electricity that might be present in your body before
• Never use benzine, thinners, alcohol or solvents of any kind, to handling USB memory.
avoid the possibility of discoloration and/or deformation. • Do not touch the terminals with your fingers or any metal
object.

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Important notes

• Do not bend or drop USB memory, or subject it to strong

impact.
• Do not leave USB memory in direct sunlight or in locations such
as a closed-up automobile. (Storage temperature: 0–50
degrees C)
• Do not allow USB memory to become wet.
• Do not disassemble or modify USB memory.
• When connecting USB memory, position it horizontally with the
USB memory connector and insert it without using excessive force.
The USB memory connector may be damaged if you use excessive
force when inserting USB memory.
• Do not insert anything other than USB memory (e.g., wire, coins,
other types of device) into the USB memory connector. Doing so
will damage the USB memory connector.
• Do not apply excessive force to the connected USB memory.
• Attach the USB memory cover when you’re not using USB memory.

Handling CD-ROMs
• Avoid touching or scratching the shiny underside (encoded
surface) of the disc. Damaged or dirty CD-ROM discs may not be
read properly. Keep your discs clean using a commercially
available CD cleaner.

Copyright
* Microsoft and Windows are registered trademarks of Microsoft
Corporation. The screen shots in this document are used in
compliance with the guidelines of the Microsoft Corporation.

* Pentium is a registered trademark of Intel Corporation.

* All product names mentioned in this document are trademarks or

registered trademarks of their respective owners.

* MMP (Moore Microprocessor Portfolio) refers to a patent portfolio

concerned with microprocessor architecture, which was developed
by Technology Properties Limited (TPL).
Roland has licensed this technology from the TPL Group.

* MPEG Layer-3 audio compression technology is licensed from

Fraunhofer IIS Corporation and THOMSON Multimedia Corpo-
ration.

* MatrixQuest™ 2008 TEPCO UQUEST, LTD. All

rights reserved.
The Prelude’s USB functionality uses Matrix-Quest
middleware technology from TEPCO UQUEST, LTD.

6
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Main Features
The Ideal Music Keyboard for Entertainment
High-quality sounds

● The latest sounds generated by a top-level sound generator with 128-voice polyphony
● High-quality localized sounds

Three backing functions that assist your performances

● High-quality Music Style engine with the latest Styles

❍ Four variations each for Intro, Main, and Ending.
❍ Included “StyleConverter” software lets you create Styles on your computer.
Styles you’ve created can be installed in the Prelude as User Styles via USB memory.

● USB Memory Player function lets you play MP3/WAV/AIFF/SMF data

❍ You can apply the Center Cancel function to audio, or enjoy “minus-one” performance using
SMF data.
❍ Included “Playlist Editor” software lets you create playlists on your computer.
You can easily create a playlist for each of your performances.

● 16-track song sequencer is built-in, allowing you to record your performances on the Prelude
❍ SMF data can be stored in internal memory, and played back or used for “minus-one”
performance.

Designed for easy use

● High-quality 11W stereo amplification system with two built-in speakers.

● Lightweight and compact body designed for portability
● Large, full-graphic white LCD for excellent visibility
● Friendly user interface featuring Style Family buttons for direct selection
● Intuitive controllers such as the D Beam controller

Import sounds via USB memory

● USB Import function allows you to add sounds (Tones)

New sounds can be added via USB memory.

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Contents
Using the unit safely ..........................3 Changing the Key Touch ([KEY TOUCH]) .... 21
Shifting the Keyboard Pitch in Octave Steps
Important notes .................................5 (OCTAVE Buttons) .................................... 21
Main Features....................................7 Transposing Keyboard Sounds and Songs
Played Back (TRANSPOSE) ....................... 21
Panel Descriptions............................10 Adding Harmony to the Upper Tone
Front Panel ........................................................ 10 (MELODY INTELL)..................................... 22
Rear Panel ......................................................... 12 Using the Metronome ............................... 22

Introduction .....................................13 Other Functions ....................................... 22

About the Prelude..................................... 13 Backing Track Functions................... 23

About Memory ................................................... 13 Selecting the Backing Types
Making Connections................................. 14 (Style/Song/USB Memory Player) ........................ 23
Connecting the AC Adaptor................................. 14 Adjusting the Volume Balance between Backing and
Connecting External Equipment ............................ 15 Keyboard (BALANCE buttons).............................. 23

Connecting a pedal and switch.................................. 15 Adjusting the Tempo ([TAP TEMPO])..................... 23

Connecting an audio player to the EXT INPUT jack....... 15 Using the metronome.................................................23

Turning the Power On/Off ........................ 15 Style (Playing with an Accompaniment)....... 24

Turning the power on................................................ 15 Playing Back a Style ([STYLE]).............................. 24

Turning the power off................................................ 15 Changing the Variations ............................................24

Stopping a Style .......................................................24
Adjusting the Display Contrast ([LCD
Adjusting the Part Balance ([PART VIEW]) ....................24
CONTRAST] knob) ................................... 16
Sync Start/Stop (SYNC buttons)..................................25
Basic Operation....................................... 16
Saving the Current Settings in a Performance......... 25
Changing a Value .............................................. 16
Selecting a Music Style ....................................... 25
Moving the cursor..................................................... 16
Selecting a Style .......................................................25
Changing a value..................................................... 16
Adding User Styles
Main Screen ...................................................... 16
(Importing from USB memory) .....................................25
Listening to the Demo Songs ...................... 17 Deleting a User Style .................................................25
Restoring the Prelude to Its Factory Settings.. 17 Back up User Style (Exporting to USB memory) .............26
Preserving Certain Settings Even When You Using the Recommended Sound Settings for a Style
Switch Performances (Lock System) ............. 17 ([ONE TOUCH]) ................................................ 26

Input settings for the EXT INPUT jack........... 18 Other Functions Related to Music Style.................. 26
Song ...................................................... 26
Keyboard Mode Functions................19 Recording a New Song ([SONG REC])................. 26
Playing Sounds from the Keyboard Recording in the Main screen .....................................26
(Keyboard Mode)..................................... 19 Recording a specified Part (SONG TRACK)..................27
Using Single Mode ............................................. 19 Re-recording Your Performance............................ 28
Using Piano Mode.................................................... 19 Saving a Song ([WRITE])..................................... 28
Using Split Mode ([SPLIT]).................................... 19 Loading Song Data from USB Memory.................. 29
Changing the Split Point............................................ 19 Deleting a Song ................................................. 29
Using Dual Mode ([DUAL]) .................................. 19 Selecting and Playing a Song ([SONG]) ............... 29
Selecting a Tone ([TONE])......................... 20 Moving the playback location of a song ......................30
Using the VALUE dial ................................................ 20 Performing along with a song
Choosing from the Tone list........................................ 20 ([MINUS ONE/CENTER CANCEL]).............................30

Switching to an Arabian Scale or Other Back Up Song Files ............................................ 30

Temperament........................................... 20 Other Functions Related to Song .......................... 30

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USB Memory Player System Settings ............................... 45

(SMF/Audio File Player)............................ 30
How to Make System Settings ([MENU]) ..... 45
Playing Back SMF/Audio Files ............................. 30
System Parameters ............................................. 45
USB Memory Player Screens ................................ 31
Viewing Information about Prelude (System Version
Song Playback ([USB MEMORY PLAYER]).............. 31 Info Screens)...................................................... 47
Selecting a playlist and playing it............................... 31
Selecting and playing a song from within a songlist...... 32 Using USB Memory.......................... 48
Selecting and playing back ‘external’ songs without creating Initializing USB Memory
a playlist ................................................................. 32 (USB Memory Format) .............................. 48
Performing along with a song Saving User Data to USB Memory (Backup) 48
([MINUS ONE/CENTER CANCEL]) ............................ 32
Loading User Data Saved on USB Memory (Import) 48
Editing Playlist.................................................... 33
Deleting user data that you loaded..............................49
Selecting the playback mode ..................................... 33
Data Structure in USB Memory............................. 49
Changing the song order .......................................... 33
Importing Data You’ve Saved in USB Memory
Deleting the song ..................................................... 33
([USB IMPORT]) ....................................... 49
Adjusting the volume of each song ............................. 33
Saving playlist settings to USB memory ([WRITE]) ......... 33 About V-LINK .................................. 50
How to Use the V-LINK ([V-LINK]) ......................... 50
Performance Functions and Effects ....34
V-LINK Settings (V-LINK SETUP) ............................ 50
Performance Features ............................... 34
D Beam Controller .............................................. 34 Appendices ..................................... 53
Assigning a function to the D Beam controller .............. 34 Troubleshooting ....................................... 53
Pitch Bend and Modulation Lever.......................... 36 Error Messages........................................ 55
Assignable Pedal................................................ 36
Effects List ............................................... 56
Using Preset Performances......................... 36 Multi-Effects Parameters..............................................56
Selecting a Performance ([PERFORM])................... 36 Chorus Parameters ....................................................82
Using the VALUE dial ................................................ 36 Reverb Parameters ....................................................83
Choosing from the Performance list............................. 36
Tone List ................................................. 84
Editing a Performance......................................... 37
Rhythm Set List ......................................... 92
Editing a Tone.................................................... 38
Editing a Tone in detail ............................................. 38
Chord Intelligence.................................. 102
Saving a Performance (WRITE)............................. 39 MIDI Implementation Chart...................... 104
Other Functions Related to Performance ................ 39 Specifications ........................................ 105
Using Reverb, Chorus and MFX Effects
Index ............................................ 106
([REVERB]) ............................................... 40
Editing the Reverb, Chorus and MFX Effects ........... 40

Using MIDI ......................................42

MIDI Channels ......................................... 42
MIDI Parameters ...................................... 42
Local Switch............................................................. 42
Using the Prelude as a MIDI Sound Module. 43
Connecting to a Computer via the USB MIDI
Connector ............................................... 44
If connection to your computer is unsuccessful... ........... 44
Making the Settings for the USB Driver .................. 44

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Panel Descriptions
Front Panel
1. VOLUME knob
This knob controls the volume of the entire Prelude.
Beware of excessive levels as they may cause the
1
speakers to distort for some sounds.

2. Pitch Bend/Modulation lever

You can raise or lower the pitch by moving this lever to
2
the left or right. Push the lever away from yourself to apply
modulation (normally vibrato) to the sound (p. 36).

3. PHONES 1 & 2 sockets 3

This is where you can connect two pairs of optional
headphones (Roland RH-25, RH-50, RH-200 or RH-300).
Doing so will switch off the internal speakers.

4
7 8 9 10

5 15

11 12 13
6

14

4. D BEAM controller 10. SONG REC button

Use this controller simply by moving your hand above it Press this button to record a Song (p. 26).
(p. 34).
11. STYLE CONTROL buttons
5. D BEAM control buttons Use these buttons to select the desired Style pattern (p. 24).
PITCH: Allows you to change the pitch of the notes you 12. SYNC buttons
are playing simply by moving your hand up and down
These buttons allow you to start/stop the Style by playing
above the D Beam controller.
a note in the left side of the keyboard (p. 25).
FILTER & VOLUME: Use these buttons to turn the D Beam
controller on/off, or to select the Filter or Volume function 13. TAP TEMPO button
(p. 34). You can also assign other functions to this button. Use this button to set the tempo (p. 23).

6. STYLE FAMILY buttons 14. VARIATION [1]–[4], AUTO FILL-IN, START/STOP, and
These buttons allow you to select one of the twelve Style SONG CONTROL buttons
categories. The operation of these buttons will depend on which
BACKING TYPE button [7] currently lights.
BACKING TRACK section If you’ve used the BACKING TYPE buttons (7) to select
7. BACKING TYPE buttons “STYLE,” these buttons will start/stop the Style or select
Use these buttons to select the backing type (p. 23). variations (p. 24).
If you’ve used the BACKING TYPE buttons (7) to select
8. BALANCE buttons “SONG” or “USB MEMORY PLAYER,” these buttons control
Use these buttons to adjust the volume balance between the song playback as the SONG/USB MEMORY PLAYER
the backing and the keyboard. (p. 23) CONTROL buttons (p. 30, p. 31).
9. PART VIEW button 15. Display
Use this to adjust the volume, etc. of each part (p. 24, This displays various information according to the
27). operations you perform.

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Panel Descriptions

17
16 19 20 23 24 25 26 30 31

21 22 27 28 29 32 33
18

34

16. VALUE dial 26. V-LINK button

Use this to edit the value of the parameters (settings) in the Switching this on lets you control external V-LINK
screen. compatible video equipment (p. 50).

EDIT section 27. OCTAVE buttons

Use these buttons to raise or lower the pitch of the
17. Cursor buttons ([ ][ ][ ][ ])
keyboard in one-octave steps (p. 21).
Use these buttons to move the cursor in the screen.
28. TRANSPOSE button
18. EXIT and ENTER buttons
These button allow you to transpose the Prelude up or
Pressed to issue the “Cancel” (EXIT) or “Execute” (ENTER) down in semitone steps (p. 21).
commands in screens that prompt you to make such a
selection. 29. MELODY INTELL button
You’ll also use the ENTER button to access lists of Tones, Press this button to add an automatic counter-melody
Performances, Styles, or Songs. (second and third voice) to your solos or melodies (p. 22).

19. MENU button MODE section

This button takes you to the settings screen for various
30. TONE button
parameters (p. 45).
Press this button when you want to select or edit a Tone
20. REVERB button (p. 20). Tones you edit are stored in the Performance.
This button lets you make effect settings (p. 40).
31. PERFORM button
21. WRITE button Press this button when you want to select or edit a
Press this button to save various types of settings (p. 28, Performance (p. 36).
33, 39).
32. ONE TOUCH button
22. NUMERIC button This applies the recommended sound settings for the
You can input numerical values with the TONE SELECT currently selected Style (p. 26).
buttons (37) when this button is lit (p. 16).
33. USB IMPORT button
KEYBOARD section You can use USB memory to add Tones or update the
system (p. 49).
23. SPLIT button
This button selects “Split mode,” whereby the keyboard is 34. [PIANO]~[SPECIAL] (Tone Select buttons)/[0]~[9]
divided into two regions, allowing you to play separate Use these buttons to select Tones by category (p. 20).
sounds with the right and left hands (p. 19). You can also input numerical values with these buttons
when the NUMERIC button is on (p. 16).
24. DUAL button
Switches the Prelude to “Dual mode,” which enables
performances with two separate Tones layered together
(p. 19).

25. KEY TOUCH button

Press this button to make the keyboard’s touch sensitivity
lighter or heavier (p. 21).

11
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Panel Descriptions

Rear Panel
11
1 2 3 4 5 6 7 8 9 10

1. LCD CONTRAST knob 6. OUTPUT R, L/MONO jacks

Adjusts the display’s contrast (p. 16). The Prelude is fitted with the finest amplification system
Roland has ever developed for its arranger keyboards.
2. MIDI OUT/IN connectors
You therefore may not need to connect it to an external
Connect MIDI devices to these connectors (p. 42). amplification system. These jacks output the audio signal
3. CONTROL PEDAL jack to the connected mixer/amplifier system in stereo. For
Connect a separately available pedal switch (Roland DP mono output, use the L jack (p. 15).
Series), a separately available foot switch (BOSS FS-5U) 7. USB MIDI port
or a separately available expression pedal (Roland EV-5) Use a USB cable to connect the Prelude to your computer
to this jack (p. 15, p. 36). via this connector (p. 48).
4. HOLD PEDAL jack 8. USB MEMORY port
Connect a separately available pedal switch (Roland DP Connect a USB memory here and use the Prelude to play
Series) to this jack (p. 15). back files (songs) that have been stored on USB memory.
5. EXT INPUT jack You can also back up data to USB memory.
Connect a portable audio player or other audio source to 9. DC IN jack
thise mini jack (p. 15, p. 18). Connect the included AC adaptor here (p. 14).

10. POWER switch

This turns the power on/off (p. 15).

11. Cord hook

Use this to secure the AC adaptor cord (p. 14).

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Introduction

About the Prelude About Memory

What is a Performance? (p. 36) Performance settings are stored in what is referred to as
A “Performance” is a group of settings that specifies the Tone memory. There are three kind of memory: temporary,
and Style, the keyboard mode, and various other parameters. rewritable, and non-rewritable.
fig.Memory-Flow.eps

What is a Tone? (p. 20) Prelude

On the Prelude, each of the sounds you normally play is called Temporary
Preset area
a “Tone.” If we use the analogy of an orchestra, a Tone
corresponds to an instrument played by one of the musicians. Performance Tone Style
Tone settings, such as those for effects and filters, are stored in Performance
Select
the Performance. Tone
System User Style
Write
What is Backing? (p. 23)
Performance Style Song
“Backing” refers to the automatic accompaniment functionality Song

of the Prelude.
There are three types of backing: you can choose from
“STYLE,” “SONG,” and “USB MEMORY PLAYER.” Import and export

Playlist Load
What is a Music Style? (p. 24) System/ Playlist
Style Song Playlist Write
A “Music Style” is a musical template used by a Backing. The Sound
Song file
Prelude contains a variety of Music Styles such as rock, pop, USB Memory
Latin, and jazz. You can also add Style data by using a USB
memory (p. 48). Temporary memory
* You can use the included “StyleConverter” software to
create Styles on your computer. Temporary area
This area holds the data of the Performance you’ve selected
What is a Song? (p. 26)
using the front panel buttons, and also holds the playlist you
The Prelude contains a 16-track MIDI song sequencer, which
edited on the Prelude.
you can use to record the music you play. You can add a
When you play the Prelude, sound is produced based on data
Backing to the performance you play on the keyboard, and
in the temporary area. When you edit a performance, you do
save the result as a Song. You can also import Song data from
not directly modify the data in memory; rather, you call up the
a USB memory .
data into the temporary area, and edit it there.
What is a USB Memory Player? (p. 30) Settings in the temporary area are temporary, and will be lost
This plays audio files or SMF data that has been stored in USB when the power is turned off or when you select another
memory. performance. To keep the settings you have modified, you
You can perform on the Prelude accompanied by backing must write them into rewritable memory.
from an audio file or SMF.
Rewritable memory

System memory
System memory stores system parameter settings that
determine how the Prelude functions.

* Some settings cannot be overwritten. For details, refer to

“System settings that are not stored” (p. 47).

User memory
User memory is where you normally store the data you need.
To store a Performance or a Song, execute Write procedure
(p. 28, 39).

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Introduction

Non-Rewritable memory
Making Connections
Preset memory
Data in Preset memory cannot be rewritten. However, you can
call up settings from preset Performances into the temporary To prevent malfunction and/or damage to speakers or other
area, modify them and then store the modified data in devices, always turn down the volume, and turn off the power
rewritable memory. on all devices before making any connections.

USB memory
When connection cables with resistors are used, the volume
level of equipment connected to the input (EXT INPUT jack)
You can back up your settings to USB memory in the following
may be low. If this happens, use connection cables that do not
units of data. (p. 48)
contain resistors.
• Sound/System
User Performances, System settings
Connecting the AC Adaptor
• Style
User Styles
1. Make sure that the [POWER] switch is off.
• Song
User Songs 2. Move the VOLUME knob all the way to the left to minimize
• All the volume.
Style and Song in addition to the Sound/System data
listed above 3. Connect the included power cord to the included AC
adaptor.
The indicator will light when you plug the AC adaptor into
an AC outlet.
fig.ACadap.eps

AC adaptor Power cord

Indicator
to an AC outlet

Place the AC adaptor so the side with the indicator (see

illustration) faces upwards and the side with textual
information faces downwards.

Depending on your region, the included AC adaptor may be a

different type than the one shown above. If so, omit step 3 and
proceed.

4. Connect the AC adaptor to the DC IN jack on the Prelude’s

rear panel, and then plug the AC adaptor into an electrical
outlet.

To prevent the inadvertent disruption of power to your unit

(should the plug be pulled out accidentally), and to avoid
applying undue stress to the AC adaptor jack, anchor the
power cord using the cord hook, as shown in the illustration.

14
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Introduction

fig.codef.eps

Cord hook
Prelude rear panel Use only the specified expression pedal (EV-5; sold
separately). By connecting any other expression pedals, you
risk causing malfunction and/or damage to the unit.

Connecting an audio player to the

EXT INPUT jack

Connecting External Equipment You can connect an MP3 player or other audio device to the
Prelude’s EXT INPUT jack, and listen to the playback.
The Prelude contains an internal amplification system but can
also be connected to audio equipment such as a monitor
“Input settings for the EXT INPUT jack” (p. 18)
speaker or a stereo set, or use headphones.
You can record your playing (or a song recorded on the
Prelude) onto an audio recording device. Connect the OUTPUT Turning the Power On/Off
jacks on the Prelude’s rear panel to the input jacks of your
external device. Turning the power on

Once the connections have been completed (p. 14), turn on

power to your various devices in the order specified. By
turning on devices in the wrong order, you risk causing
malfunction and/or damage to speakers and other devices.

Stereo 1. Before you turn on the power, turn the [VOLUME] knob all
headphones
the way to the left to minimize the volume.

2. Press the rear panel [POWER] switch to turn on the power.

This unit is equipped with a protection circuit. A brief interval

Monitor speakers, etc. (a few seconds) after power up is required before the unit will
operate normally.

The internal speakers are switched off when you connect one If the Prelude is connected to a keyboard amp or audio amp,
or two pairs of headphones. turn on the power of the Prelude first, and then switch on your
amp.
Connecting a pedal and switch 3. Turn the [VOLUME] knob to adjust the volume of the
Prelude.

You must switch off the Prelude’s power before you connect a
pedal and/or switch. Turning the power off
Connect a separately available pedal switch (Roland DP
Series) to the HOLD PEDAL jack on the rear panel. You can 1. Before you turn off the power, turn the [VOLUME] knob all
use this pedal switch to sustain notes even after taking your the way to the left to minimize the volume.
hands off the keyboard.
Connect a separately available pedal switch (Roland DP 2. Press the [POWER] switch once again to turn off the power.

Series), a separately available foot switch (Boss FS-5U) or

separately available expression pedal (Roland EV-5) to the If the Prelude is connected to a keyboard amp or audio amp,
rear panel CONTROL PEDAL jack. You can use this to control switch off the power to your amp first, then turn off the power
various functions that you assign (p. 36). on the Prelude.

15
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Introduction

Adjusting the Display Contrast Main Screen

([LCD CONTRAST] knob) The following screen, which appears after you turn on the
power, is called the “Main screen.” This screen will be shown
1. Turn the [LCD CONTRAST] knob on the rear panel. most of the time you’re performing with the Prelude.
(1)
(5)
(2)
Basic Operation (6)

(3) (4)

Changing a Value
1. The number and name of the currently selected Style or of
the currently selected Song
Moving the cursor 2. The group, number, and name of the currently selected
Performance
A single screen or window displays multiple parameters or
3. The number and name of the Tone selected for the Lower
items for selection. To edit the setting of a parameter, move the
Part
cursor to the value of that parameter. To select an item, move
the cursor to that item. When selected with the cursor, a 4. The number and name of the Tone selected for the Upper
parameter value or other selection is highlighted. Part
Move the cursor with the [ ], [ ], [ ] and [ ] 5. The measure number, tempo, and time signature of the Style
(cursor buttons). or Song
6. Chord indication
Changing a value
Window
To change the value, use the VALUE dial.
The somewhat smaller screens that appear temporarily on
Entering numerical values ([NUMERIC]) top of the normal screens are called windows. Various
types of windows appears according to the situation.
If you turn [NUMERIC] on, you’ll be able to use the TONE
Some display allow you to make settings, and others ask
SELECT buttons ([PIANO]–[SPECIAL]) to enter numerical values.
you to confirm an operation.
This is convenient when selecting Tones (p. 20), Styles (p. 25), fig.disp-tempo.eps_80

Performances (p. 36), or Songs (p. 29).

1. Use the cursor buttons or [STYLE], [SONG], [TONE] or

[PERFORM] to move the cursor to the numerical value you
want to change. Press [EXIT] to close the window. Some windows will close
automatically when an operation is performed.
2. Press [NUMERIC].
All of the TONE SELECT buttons will light.

3. Use the TONE SELECT buttons to enter the desired value,

and press [ENTER].

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Introduction

4. Press [ENTER] to execute the Factory Reset.

Listening to the Demo Songs If you press [EXIT] instead, you’re returned to the previous
screen and no Factory Reset takes place.

1. Press [MENU]. 5. Turn the power off and then on again.

2. Use [ ][ ] to select “Demo Play” then press [ENTER].

Restoring the factory settings will initialize the System and User
3. Use the cursor buttons to select the song you want to hear Performance settings.
then press [ENTER].
Press [PIANO (0)] to play back all of the demo songs. Preserving Certain Settings
4. Press [START/STOP] to stop demo playback. Even When You Switch
5. Press [EXIT] to return to the Main screen. Performances (Lock System)
The settings for which you select “ON” (as described below)
All rights reserved. Unauthorized use of this material for
will not change even when you switch Performances.
purposes other than private, personal enjoyment is a violation
of applicable laws. Choosing the settings that will be locked

1. Press the [MENU] button and select “System”.

No data for the music that is played will be output from MIDI
OUT.
2. Confirm your choice by pressing [ENTER].

3. Press the [ ] button several times until the “System

Restoring the Prelude to Its Lock” page is displayed.
Factory Settings 4. Use [ ][ ] to select the parameter, and turn the
You can return all of Prelude’s settings to the factory-set state. VALUE dial to select the value.
This is called “Factory Reset.”
Parameter Explanation Value
The Style will not change when you
If the Prelude’s internal memory already contains important Style OFF, ON
switch Performances.
data that you’ve created, all of this data will be lost when you
execute a Factory Reset. If you want to keep your data, you The Tones will not change when you
Tone OFF, ON
must save it to USB memory (p. 48). switch Performances.
The Style tempo will not change
Style Tempo OFF, ON
1. Press [MENU]. when you switch Performances.
The transpose setting (p. 21) will not
2. Use [ ][ ] to select “Utility” then press [ENTER]. Transpose change when you switch OFF, ON
Performances.
3. Use the cursor buttons to select “Factory Reset” then press
[ENTER]. 5. Press [EXIT].
The confirmation message will appear. You will see the message “System Write Completed.”

These settings are system parameters (p. 45).

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Introduction

Input settings for the EXT

INPUT jack
Here you can specify whether the sound from the EXT INPUT
jack (p. 15) will be used.
You can also specify whether the Center Cancel function will
be applied to the sound from the EXT INPUT jack.

When connection cables with resistors are used, the volume

level of equipment connected to the EXT INPUT sockets may be
low. If this happens, use connection cables that do not contain
resistors.

Center Cancel function minimizes the playback volume of the

sound that’s heard from the center (e.g., vocal or melody
instrument).

1. Press [MENU].

2. Use [ ][ ] to select “Ext Input Setting” then press

[ENTER].

3. Use [ ][ ] to select the item that you want to change.

Parameter Explanation Value

External Turns the input from the EXT

OFF, ON
Input INPUT jack ON or OFF.

Specifies whether the Center

Cancel function will be applied to
Center
the sound from the EXT INPUT OFF, ON
Cancel
jack (ON) or will not be applied
(OFF).

4. Turn the VALUE dial to set the value.

5. When you’re finished making settings, press [EXIT].

The “External Input” and “Center Cancel” settings cannot be

saved to User Programs or the System memory. “External
Input” is reset to “On” and “Center Cancel” to “Off” each time
you switch on the Prelude.

18
Keyboard_e.fm Page 19 Monday, January 19, 2009 3:53 PM

Keyboard Mode Functions

Playing Sounds from the Using Split Mode ([SPLIT])

Keyboard (Keyboard Mode) Such a division of the keyboard into right- and left-hand
sections is called a “Split,” and the key where the division
Immediately after you turn on the power, the Prelude will be in takes place is called the “Split Point.”
a state where you can use the entire keyboard to play a piano
While in Split mode, a sound played in the right side is called
sound. The Prelude’s keyboard can operate in one of the
an “Upper Tone,” and the sound played in the left side is a
following three modes.
“Lower Tone.” The Split-Point key is included in the upper
section. The Split Point has been set at the factory to “C4”.
SINGLE The entire keyboard plays one Tone.
1. Press [SPLIT] so the button is lit.
The region of the keyboard to the left of the Split
The Tone you selected in Single mode will be the Tone for
Point becomes the Lower Part, while the region of
the Upper Part.
SPLIT the keyboard to the right of the Split Point
becomes the Upper Part. Each part plays a 2. Use [ ][ ] to select the Upper or Lower part if you
different Tone.
wish to assign it a different Tone.
The entire keyboard plays two Tones (assigned to
DUAL 3. To exit Split mode, press [SPLIT] once again so its light
the Upper and Lower parts) simultaneously.
goes out.

If BACKING TYPE [STYLE] is on, the left region of the keyboard

In Split mode, the most suitable octave settings for each Tone
(the Lower Part) is used to enter chords (p. 24).
are applied automatically.

Regardless of the current settings, you can easily select Single

Changing the Split Point
mode by choosing the “Piano Mode” described below.
1. Press and hold [SPLIT] (for approximately two seconds).
Using Single Mode The Split Point setting screen will appear.

If the [SPLIT] and [DUAL] are off, the keyboard will be in Single 2. Turn the VALUE dial to change the Split Point.
mode, meaning that the entire keyboard will play a single
Tone. 3. When you’re finished making the setting, press [EXIT].

When you turn on the power, the Prelude will be in this mode.
You can also change the Split Point by holding down [SPLIT]
Using Piano Mode and playing the desired key.

Regardless of the keyboard mode that is currently selected, The lowest split point note is “C#2”.The screen doesn’t display
you can use the following operation to call up the “Piano notes lower than the “C#2”.
Mode.”
This will make the appropriate settings for playing piano on
Using Dual Mode ([DUAL])
the Prelude; the entire keyboard will play a piano sound.
“Dual” is the mode in which two Tones are layered, so that
1. Press [SPLIT] and [DUAL] (PIANO MODE) simultaneously. they sound together.
In Dual mode, one Tone is called the “Upper Tone,” and the
other is called the “Lower Tone.”

1. Press [DUAL] so the button is lit.

The Tone you selected in Single mode will be the Tone for
the Upper Part.

2. Use [ ][ ] to select the Upper or Lower part if you

wish to assign it a different Tone.

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Keyboard Mode Functions

3. To exit Dual mode, press [DUAL] once again so its light

goes out.
Switching to an Arabian
Selecting a Tone ([TONE]) Scale or Other Temperament
As an alternative to the temperament commonly used in
The Prelude contains more than 1000 different Tones. You can
Western music, you can adjust the pitch of each note to create
use these Tones in the three keyboard modes (Single, Split,
temperaments used in other musical cultures or historical
Dual).
periods (e.g., Oriental temperaments, or temperaments used in
In Split mode or Dual mode, you can use the cursor buttons to
the Baroque era).
move the cursor to the Tone number of the Upper Tone or
You can independently adjust the pitch of each note in the
Lower Tone, and select a different Tone for each.
octave (C, C#, D, Eb, E, F, F#, G, Ab, A, Bb, B).

Using the VALUE dial 1. Hold down the [TRANSPOSE] button and press the
[KEY TOUCH] button.
1. Press [TONE] so the button is lit. The Key Scale window will open.

2. Use [ ][ ] to select the Upper or Lower part. 2. Use the cursor buttons to select the item that you want to
change, and use the VALUE dial to change the value.
3. Turn the VALUE dial to step through the Tones one by one.
Alternatively, you can press one of the TONE SELECT Parameter Explanation Value
buttons ([PIANO]–[SPECIAL]) to select a Tone by category.
Equal Tuning: This tuning divides
the octave into 12 equal parts, and
Preset Press
When the cursor in the screen is at the Tone number, you can is the most widely used method of
Equal [ENTER]
also select a Tone by turning [NUMERIC] on, using the TONE temperament used in Western mu-
SELECT buttons to enter a Tone number, and then pressing sic.
[ENTER].
Arabic Scale: In this scale, E and B
are a quarter note lower and C#,
Choosing from the Tone list F# and G# are a quarter-note high-
er compared to equal tempera-
ment. The intervals between G and
Preset Press
1. In the Main screen, use the cursor buttons to move the B, C and E, F and G#, Bb and C#,
Arabic [ENTER]
cursor to the Tone number. and Eb and F# have a natural third
the interval between a major third
2. Press [ENTER]. and a minor third. On the GW-8,
you can use Arabian temperament
3. Use [ ][ ] or the VALUE dial to select a Tone. in the three keys of G, C and F.

You can press one of the TONE SELECT buttons Use the Key Scale for the Lower
Lower Sw OFF, ON
([PIANO]–[SPECIAL]) to select a Tone by category. Part

4. Press [ENTER] to set the Tone. Use the Key Scale for the Upper
Upper Sw OFF, ON
Part
If you press [EXIT] without pressing [ENTER], the list will
close without the currently selected Tone being changed. Style Sw Use the Key Scale for the Style Part OFF, ON

C Key Scale C -64–+63

You can use [ ][ ] to select a sub-category within the
C# Key Scale C# -64–+63
currently selected category.
D Key Scale D -64–+63

You can edit the currently selected Tone and store it in the Eb Key Scale Eb -64–+63
Performance. For details, refer to “Editing a Tone” (p. 38) and
E Key Scale E -64–+63
“Saving a Performance (WRITE)” (p. 39).
F Key Scale F -64–+63

20
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Keyboard Mode Functions

Parameter Explanation Value Parameter Value Explanation

F# Key Scale F# -64–+63 Specifies the volume value used

Value 1–127
when “Curve” is set to “FIXED.”
G Key Scale G -64–+63

G# Key Scale G# -64–+63 3. When you’ve finished making settings, press [KEY TOUCH]
once again (or [EXIT]) to close the window.
A Key Scale A -64–+63

Bb Key Scale Bb -64–+63

If you want to keep this setting, press [WRITE] to store it into
B Key Scale B -64–+63 the Performance (p. 39).

3. When you’ve finished making settings, press [EXIT] once to

close the window. Shifting the Keyboard Pitch in
Octave Steps (OCTAVE Buttons)
Changing the Key Touch You can shift the pitch of the currently selected Tone upward or
([KEY TOUCH]) downward in steps of an octave, over a maximum of four
octaves upward or downward.
This setting determines how the volume changes in response to
the force used to play the keyboard (Velocity Sensitivity). 1. Press OCTAVE [ ] or [ ].
The Octave Shift window will open, and will then close a
The velocity—the force with which you play the keyboard— few moments after you release the button.
can affect the volume or timbre of a sound.
2. While holding down OCTAVE [ ] or [ ], use Cursor
[ ][ ] to select the Upper or Lower part whose pitch
1. Press [KEY TOUCH] so the button is lit.
you want to shift.
The Key Touch window will open.
3. Use OCTAVE [ ][ ] to change the octave.
2. Use the cursor buttons to select the item that you want to
change, and use the VALUE dial to change the value.
Transposing Keyboard
Parameter Value Explanation
Sounds and Songs Played
Select this setting if you do not
LIGHT want velocity changes to bring Back (TRANSPOSE)
about major volume changes.
By using the “Transpose function,” you can transpose your
Medium velocity sensitivity. The performance without changing the notes you play. You can
keyboard responds to velocity
also use this function to play back a song in a different key.
MEDIUM changes, but the maximum vol-
ume can be obtained more easily
1. Press [TRANSPOSE].
than with “HEAVY.”
The Transpose window will open, and will then close a
Select this setting for maximum ex- few moments after you release the button.
Curve pressiveness. Even small varia-
tions of the force with which you 2. While holding down [TRANSPOSE], use [ ][ ] to
strike a key produce audible
HEAVY select the item whose setting you want to change.
changes. The tradeoff is, howev-
er, that you have to strike the keys
forcefully to achieve the maximum Parameter Explanation Value
volume.
The playback of Songs recorded
Select this setting if all notes you with, or imported into, the
Song Trans OFF, ON
FIXED play on the keyboard should have Prelude, and of SMF data (29,
the same velocity value. p. 31) will be transposed.

21
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Keyboard Mode Functions

3. Press [EXIT] to return to the Main screen.

Parameter Explanation Value

The sound of the keyboard will 4. To turn the Melody Intelligence off, press [MELODY INTELL]
KBD Trans OFF, ON
be transposed. so its light goes out.
F#, G,

C→
The transposed pitch (–5~+6
G#, A,
Bb, B, C,
Using the Metronome
semitones)
C#, D, Eb, It’s convenient to use the metronome when you’re practicing a
E, F new song.

1. Press [MENU].
Audio data cannot be transposed.

3. Hold down [TRANSPOSE], and use the VALUE dial to 2. Use [ ][ ] to select “System” then press [ENTER].

specify the desired value.

3. Use [ ][ ] to select “METRONOME” page, and use
[TRANSPOSE] will light if the setting is anything other than C. [ ][ ] to select a parameter.

By holding down [TRANSPOSE] and using OCTAVE [ ] 4. Turn the VALUE dial to select the value.
[ ], you can change the Transpose value regardless of
where the cursor is located. Parameter Value Explanation

Metronome
OFF, ON Turns the metronome on/off.
Adding Harmony to the Upper Switch

Tone (MELODY INTELL) Specifies how the metronome will be

sounded.
While a Music Style is playing (p. 24), the matching harmony The metronome will sound at
ALWAYS
is automatically added to the notes you are playing in the all times if it is turned on.
Upper Part. This function is called “Melody Intelligence.”
The metronome will sound
Metronome
Those automatic harmonies are based on the chords you play REC only while you’re recording a
Mode
in the lower section. Song (p. 26).
The Melody Intelligence function will be on when you turn
The metronome will sound
[MELODY INTELL] on (button lit).
when you’re playing a Style
PLAY
and when you’re playing a
The Melody Intelligence function is only available while the Song (p. 24, p. 29).
[STYLE] button lights.
Adjusts the volume of the
LOW,
Selecting the type of harmony Metronome metronome. The metronome
MEDIUM,
Level will be quiet at “Low” and
HIGH
1. Press [MELODY INTELL] so the button is lit. loud at “High.”

When you play something in the Upper Part, harmony is 5. When you’ve finished making settings, press [EXIT].
added.
This setting is saved to the System memory.
2. Press and hold [MELODY INTELL], and turn the VALUE dial
to select the Melody Intelligence type. Other Functions
Parameter Value
“Performance Functions and Effects” (p. 34)
DUET, ORGAN, COMBO, STRINGS, CHOIR,
“Editing a Tone” (p. 38)
BLOCK, BIG BAND, COUNTRY,
TRADITIONAL, BROADWAY, GOSPEL, RO- “Master Tune” (p. 45)
Type “System Transpose*” (p. 45)
MANCE, LATIN, COUNTRY GUITAR, COUN-
TRY BALLAD, WALTZ ORGAN, OCTAVE TYPE
1, OCTAVE TYPE 2

22
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Backing Track Functions

Selecting the Backing Types Adjusting the Tempo ([TAP TEMPO])

(Style/Song/USB Memory Player)
The Prelude allows you to use the following three types of You can’t adjust the tempo of audio data.
musical backing. To switch the backing type, use BACKING
TYPE [STYLE], [SONG] and [USB MEMORY PLAYER]. 1. Press [TAP TEMPO] three or more times at the desired
interval.
[STYLE] (p. 24)
The tempo setting window will appear, and the tempo will
This backing uses the Music Styles. The Prelude Style function
be specified by the interval at which you pressed the
automatically generates a backing with multiple instruments;
button.
simply choose one of a variety of Music Styles (Styles), then
use your left hand to specify a chord. You can also choose
You can also specify the tempo by pressing [TAP TEMPO] to
Variations to change the backing in addition to the Intro,
access the tempo setting window, and then using the cursor
Main, and Ending backing types.
buttons and VALUE dial to specify the tempo. Press [EXIT] to
Using only the drum part of a Style as the close the tempo setting window.
backing
If you turn all of BACKING TYPE [STYLE], [SONG] and Using the metronome
[USB MEMORY PLAYER] off, you’ll hear only the drum
part of the currently selected Style. Just as when [STYLE] is
on, you’ll be able to use the STYLE CONTROL buttons and 1. Press [TAP TEMPO].
VARIATION buttons to choose different variations.
The tempo setting window will appear.
[SONG] (p. 26)
2. Use the cursor buttons to move the cursor to “Metronome,”
You can use the recording function to record your own
and use the VALUE dial to turn it on.
performance into the Prelude. Since a 16-track sequencer is
When you turn the metronome on, it will begin sounding,
built in, you can use multi-track recording to create a song by
depending on the metronome mode you selected
recording a different sound on each track. A song you’ve
(“Always”, “REC” or “Play”).
created can also be used as the backing for your keyboard
performance. 3. To stop the metronome, turn off “Metronome.”
SMF data can be loaded into the user Song and played back.
4. Press [EXIT] to return to the Main screen.
[USB MEMORY PLAYER] (p. 30)
This allows you to play back audio files or SMF data that’s
For details on volume and other settings for the metronome,
been saved on USB memory. You can use this playback as the
refer to “Using the Metronome” (p. 22).
backing for your keyboard performance.

Adjusting the Volume Balance between

Backing and Keyboard (BALANCE buttons)
Use BALANCE [BACKING] and [KEYBOARD] to adjust the
volume balance between the backing and your keyboard
performance.
If you press BALANCE [BACKING] and [KEYBOARD]
simultaneously, the volume balance will return to its original
value.
If you’ve changed the volume balance, the button whose
volume is higher will be lit.

This setting cannot be stored.

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Changing the Variations

Style (Playing with an You can press the VARIATION buttons to change the type of
Accompaniment) ensemble that will play the backing.
The button you press flashes until the new pattern is used (after
which the button lights steadily.)
Playing Back a Style ([STYLE]) VARIATION [1] produces the simplest arrangement, and
VARIATION [4] produces the most florid.
1. Press [STYLE] so the button is lit. For an intro or ending, VARIATION [1] is the shortest and
simplest.
At this time, the keyboard Split Point will be set to “C4” (the
Using the Auto Fill-in Function
default setting).
If you leave [AUTO FILL-IN] on (button lit), a fill-in will play
when you switch between accompaniment Variations. The fill-
If you press and hold [SPLIT] (for approximately two seconds), in that is played between the current and the next Variation
the Split Point setting screen will appear. You can turn the pattern depends on where you come from.
VALUE dial to change the Split Point. When you’re finished,
press [EXIT].
What’s a “Fill-In”?–A short improvisational phrase inserted at
2. Press [START/STOP]; the drums will start playing. the bar line is called a “Fill In.” The Prelude automatically
plays the appropriate phrase for the selected Style.

If you’re not using the lower area of the keyboard (the Lower
Part area) to enter chords, only the drum pattern of the Style Stopping a Style
will be heard.

3. Use your left hand to play a chord (or a single note). 1. Press [START/STOP] once again to make the backing stop.

Use your left hand to play the backing chord, and your
right hand to play the melody. If you press [ENDING] instead of [START/STOP], the ending
phrase will play and then the backing will stop.
4. If you play a different chord (or single note), the backing
chord will change.
Adjusting the Part Balance ([PART VIEW])

The chord name is displayed in the backing chord area of the If [STYLE] is on, or if all of the BACKING TYPE buttons are off,
screen. you can access the PERFORM MIXER screen by pressing [PART
VIEW].
5. Use the STYLE CONTROL buttons to select a different
In the PERFORM MIXER screen you can adjust the volume for
pattern for the currently selected Style.
each Part of the Style. You can also mute (silence) a specific
Part, or play only a specific Part.
A backing pattern suitable for an
[INTRO]
introduction.
1. With [STYLE] turned on, press [PART VIEW].
This is the main accompaniment pattern for
[MAIN] The PERFORM MIXER screen will appear.
the song.
2. Use [ ][ ] to select the part whose settings you
[ENDING] A backing pattern suitable for an ending.
want to make, and use [ ][ ] to select the item that
you want to set.
If [STYLE] is unlit, pressing [START/STOP] will cause only the
drums to start playing. Display Part
LWR LOWER
UPR UPPER
ADR Accompaniment Drum
ABS Accompaniment Bass
AC1–AC6 Accompaniment 1–6

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Backing Track Functions

After importing new Styles from a USB memory, you can

Parameter Value Explanation also press [USER] to select a User Style.

LEVEL 0–127 Adjusts the volume of the Part. 3. Turn the VALUE dial to step through the Styles one by one.
OFF, Specifies whether the sound will be
MUTE
ON muted (ON) or heard (OFF). When the cursor in the screen is at the Style number, you can
OFF, Specifies whether this Part alone will also select a Style by turning [NUMERIC] on, using the TONE
SOLO SELECT buttons to enter a Style number, and then pressing
ON be heard by itself (ON) or not (OFF).
[ENTER].
3. To exit the PERFORM MIXER screen, press [EXIT] or press
Choosing from the Style List
[PART VIEW] so its light is turned off.
1. In the Main screen, use the cursor buttons to move the
Sync Start/Stop (SYNC buttons) cursor to the Style number.

If you leave SYNC [START] on (button lit), the accompaniment 2. Press [ENTER].
will start the moment you play a note at the left side of the Split
3. Use [ ][ ] to select a Style genre.
Point (i.e., in the Lower Part area).
To select a User style, select “USER” or press [USER].
If you leave SYNC [STOP] on (button lit), the accompaniment
will stop the moment you take your hand off of the Lower Part 4. Use [ ][ ] or the VALUE dial to select a Style.
area. This is great for songs where you need breaks (i.e. one
or several beats of silence). 5. Press [ENTER] to set the Style.
To defeat this setting, press the button so it goes out. If you press [EXIT] without pressing [ENTER], the list will
close without the currently selected Style being changed.

Saving the Current Settings in a

Adding User Styles
Performance
(Importing from USB memory)
See “Saving a Performance (WRITE)” (p. 39).
Style data saved on USB memory can be imported into the
Prelude. Before you continue, the Style data you created on your
Selecting a Music Style computer using the included “StyleConverter” software must be
The Style memory locations are organized as follows. saved to USB memory.
For details, refer to “Loading User Data Saved on USB
Type Explanation Memory (Import)” (p. 48).

PRST These are the Styles built into the Prelude.

(Preset) They cannot be overwritten. Deleting a User Style
When you create Style data on your computer, Here’s how you can delete the specified Style or all Styles from
save it to USB memory, and load it into the User Style memory.
USER
Prelude, it will be written into this USER area (p.
48). 1. Press [MENU].

2. Use [ ][ ] to select “Utility” then press [ENTER].

Selecting a Style
3. Use the cursor buttons to select “Delete” then press [ENTER].
Using the VALUE dial 4. Use the cursor buttons to select “Style” or “All Styles,” then
1. Press [STYLE] so the button is lit. press [ENTER].

2. Use the STYLE FAMILY buttons to select a Style by genre. 5. If you selected “Style” in step 4, use the VALUE dial or
Immediately after you press one of the STYLE FAMILY [ ][ ] to select the Style that you want to delete, then
buttons, the screen will show the name of the first Style in press [ENTER].
the selected genre.
A confirmation window will appear.

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Backing Track Functions

6. Press [ENTER] to delete the Style(s).

If you press [EXIT], you’re returned to the previous screen Song
without deleting the Style(s).
Recording a New Song ([SONG REC])
Back up User Style
You can use the 16-track recorder of the Prelude to record
(Exporting to USB memory)
your own performances.
For details, refer to “Saving User Data to USB Memory You can record your keyboard performance while listening to
(Backup)” (p. 48). an accompaniment, and then listen to the playback of your
recorded performance.

Using the Recommended Sound

Recorded performances are discarded when another Song is
Settings for a Style ([ONE TOUCH])
selected, or when the power is turned off. If you don’t want to
When [STYLE] is on, turning [ONE TOUCH] on (button lit) will lose the Song, you must save it (p. 28).
assign the most suitable Tones for the currently selected Style On the Prelude, there are two ways to record a Song.
as the Upper Tone and Lower Tone. This is called the “One • Refer to “Recording in the Main screen” (p. 26).
Touch” function. • Refer to “Recording a specified Part (SONG TRACK)” (p.
If [ONE TOUCH] is on when you switch Styles, the keyboard 27).
Tones will also switch to the Tones that are most suitable for
the Style you selected.
Song settings (e.g., tempo and time signature) are determined
To turn off the One Touch function, turn [ONE TOUCH] off by the settings of the Style that’s saved in the selected
(button unlit). Performance. You’ll probably find it convenient to first select the
Style and Tones that you want to use (p. 36). If you are
performing without using a Style, you can specify the tempo and
The Keyboard Mode (p. 19) will change depending on the
time signature of the Song in the SONG TRACK screen (p. 27).
selected Style.

Recording in the Main screen

Switching the Style when [ONE TOUCH] is on will not change
the Split Point (p. 19). If you want to record the Style playback as well, turn [STYLE]
on. Recording will start/stop simultaneously when you start/stop
The One Touch function is available only when a preset Style the Style.
is selected. If you want to record only your keyboard performance without
playing a Style, turn [SONG] on.
If [STYLE] and [SONG] are both turned off, the rhythm pattern
You can’t change the Tones that are assigned to each Style by
of the Style selected by the STYLE FAMILY buttons will be
the One Touch function.
recorded together with the keyboard performance.

Other Functions Related to Music Style If you want to record your performance after selecting any
internal song, imported from USB memory, refer to “Re-
recording Your Performance” (p. 28). To record a new Song,
“Using Split Mode ([SPLIT])” (p. 19) use the Song Initializing operation. Refer to “Recording a
“Selecting a Tone ([TONE])” (p. 20) specified Part (SONG TRACK)” (p. 27). The following
“Adding Harmony to the Upper Tone (MELODY INTELL)” (p. 22) procedure, allows you to record your performance.
“Using Preset Performances” (p. 36)
“Chord Mode” (p. 37) 1. Select the Performance that you want to use (p. 36).
“Backing Hold” (p. 37)
2. Press [SONG REC].
“Bass Inversion” (p. 37)
“Pedal Assign” (p. 45) [SONG REC] will blink.
“Saving User Data to USB Memory (Backup)” (p. 48) 3. Press [ ] to start recording.
“Loading User Data Saved on USB Memory (Import)” (p. 48)

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Even without pressing [ ], recording starts when

you play on the keyboard… MFX (p. 40) will apply only to the realtime performance of the
(1) if the [SYNC START] button is lit, or… Part (Upper Part or Lower Part) you play by hand. Be aware
(2) if you start playing using the Upper or Lower part that MFX will not apply to the recorded Song data.
while the “Count-In” parameter is set to “WAIT NOTE” (p.
28).
When [SONG] is on, you can press [PART VIEW] repeatedly
4. Perform. to switch from the Main screen to SONG TRACK → PERFORM
MIXER (p. 24) → Main screen.
5. Press [ ] to stop recording.
When you stop recording, the SONG TRACK screen will
1. Press [SONG] so the button is lit.
appear.
If you want to continue recording, refer to step 7 and 2. Press [PART VIEW] so the button is lit.
following of “Recording a specified Part (SONG TRACK)” The SONG TRACK screen will appear.
below, or step 3 and following of “Re-recording Your
Initializing a Song
Performance” (p. 28).
Press [EXIT] to return to the Main screen. 3. Use the cursor buttons to select the INIT icon then press
[ENTER].
MFX (p. 40) will apply only to the realtime performance of the The Song Initialize window will appear.
Part (Upper Part or Lower Part) you play by hand. Be aware
4. As needed, use the cursor buttons and VALUE dial to
that MFX will not apply to the recorded Song data.
specify the tempo and time signature of the Song.

5. Use the cursor buttons to select the INIT icon once again
A performance you record using a Style is recorded to parts
1–16 as follows. then press [ENTER].
A confirmation window will appear.
Track Part Name Track Part Name
6. Press [ENTER].
1 Accomp 1 9 Accomp 6
If you press [EXIT] twice instead of [ENTER], the Song
2 Accomp bass 10 Accomp drums
Initialize window will close without initializing a Song.
3 Accomp 2 11 Lower Part The SONG TRACK screen will appear.
4 Upper Part 12
7. Use the cursor buttons to select an item, and turn the
5 Accomp 3 13
VALUE dial to set the value.
6 14
7 Accomp 4 15 Melody Intelligence Item Explanation Value
8 Accomp 5 16 Part Part to record 1–16
Tone The Tone number for each Part

You can specify whether the metronome will sound during Mute Mute On (no sound) or Off (sound) setting for each Part
recording. See “Using the Metronome” (p. 22). Solo Solo On (hear only this part) or Off setting for each Part

Recording a specified Part (SONG TRACK) Be sure to select the sounds you want to use for your recording
at this stage. You cannot assign different sounds to previously
In the SONG TRACK screen you can specify the Part that you
recorded parts.
want to record. A performance using one Tone will be
recorded on each Part. 8. Press [SONG REC].
[SONG REC] will blink.
The Song Rec Standby screen will appear.
If you’re recording on a specified Part, recording with a Style
If you are recording a new Song, there’s no need to make
may cause your performance to be recorded together with the
settings in this screen. Proceed to the next step.
performance generated by the Style, depending on the Part
you’ve specified. If you’re recording on a specified Part, we 9. Press [ ] to start recording.
recommend that you play without using Styles.
10. Perform.

11. Press [ ] to stop recording.

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Parameter Value Explanation

Re-recording Your Performance If this is turned “ON,” recording
will occur from the “Punch In”
In the SONG TRACK screen you can overdub additional measure to the “Punch Out”
material onto your recorded performance, or re-record the measure that you specify below.
Punch
specified measures of a performance. OFF, ON When the song playback reaches
Sw
You can use the following ways of re-recording. the measure you specified for
“Punch In,” recording will begin
• Replace–New material is recorded as previously recorded
automatically, and recording will
material is erased.
stop at the “Punch Out” measure.
• Mix–New notes are recorded on top of notes previously
Punch Measure at which recording
recorded. 0001–
In will begin
• Punch In/Out– Replace or Mix recording is performed Punch Measure at which recording
only in the region you specify for re-recording. 0002–
Out will end

When you record a Song using a Style, the Style data is

recorded in the first measure of the Song. When you play back If you assign the pedal to “PUNCH IN/OUT” in “Pedal
this Song, playback will begin from measure indication “2.” Assign” (p. 45), you’ll be able to specify the record-start and
record-end locations by pressing the pedal. In this case, turn
1. Press [SONG] so the button is lit. the above “Punch Sw” to the “OFF” setting.

2. Press [PART VIEW] so the button is lit. 5. Press [ ] to start recording.

The SONG TRACK screen will appear.
6. Perform.
As needed, make Song settings as described in step 7 of
“Recording a specified Part (SONG TRACK).”
7. Press [ ] to stop recording.
3. Press [SONG REC].
[SONG REC] will blink. Saving a Song ([WRITE])
The Song Rec Standby screen will appear.

4. Use the cursor buttons to select a parameter, and turn the Here’s how you can save a Song from the temporary Song

VALUE dial to set the value. memory to a user Song memory.

1. Press [WRITE].
Parameter Value Explanation
New material is recorded as 2. Use [ ][ ] to select “Song,” and then press [ENTER].
REPLACE previously recorded material is
Rec erased. Input a name for your user Song
Mode
New notes are recorded on top 3. Use [ ][ ] to move the cursor, and turn the VALUE
MIX
of notes previously recorded. dial to change each character.
No count-in. Recording starts as Enter a Song name of up to 16 characters.
OFF
soon as you press [ ]. The following characters are available.
Recording starts after a 1-bar A~Z 0~9 ! # $ % & ‘ ( ) - @ ^ ` { } _
1MEAS
count-in.
Count
In Recording starts after a 2-bar Button Explanation
2MEAS
count-in.
Selects the type of character. Each time you press
Recording starts as soon as you this, you will alternately select the first character
WAIT NOTE play a note on the keyboard. [0]
of a character set: uppercase (A), or numerals
(There will be no count-in.) and symbols (0).
OFF, 1/4, Quantize corrects the timing of
[1] Deletes the character at the cursor location.
Input 1/8, 1/8T, your notes by shifting them to the
Quan- 1/16, 1/16T, nearest grid mark. This specifies [2] Inserts a “_ ” at the cursor location.
tize 1/32, 1/32T, the number of steps per measure
1/64 (i.e., the resolution). 4. Press [ENTER].

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A confirmation window will appear.

When you record a Song using a Style, the Style data is
5. Press [ENTER] to save the Song.
recorded in the first measure of the Song. When you play back
If you press [EXIT], you’re returned to the previous screen this Song, playback will begin from measure indication “2.”
without the Song being saved.

When you select a user Song, the temporary Song memory

will be overwritten by the user Song you selected.
Loading Song Data from USB Memory
Song data saved on USB memory can be loaded into the You can’t play back SMF data that contains more than 16 parts.
Prelude. SMF data also can be stored into the user Song.
For details, refer to “Loading User Data Saved on USB
Memory (Import)” (p. 48).

Deleting a Song
Here’s how you can delete the specified Song or all Songs
from User Song memory.

1. Press [MENU].

2. Use [ ][ ] to select “Utility” then press [ENTER].

3. Use the cursor buttons to select “Delete” then press [ENTER].

4. Use the cursor buttons to select “Song” or “All Songs,”

then press [ENTER].

5. If you selected “Song” in step 4, use the VALUE dial or [ ]

[ ] to select the Song that you want to delete, then press
[ENTER].
A confirmation window will appear.

6. Press [ENTER] to delete the Song(s).

If you press [EXIT], you’re returned to the previous screen
without deleting the Song(s).

Selecting and Playing a Song ([SONG])

1. Import on or several songs from a USB memory if you

haven’t already done so.

2. Press [SONG] so the button is lit.

3. Turn the VALUE dial to select a Song.

When the cursor is at the Song number, you can also
select a Song from the Song list. Press [ENTER] to access
the Song list, using [ ][ ] to select a Song, and then
pressing [ENTER].
You can use [NUMERIC] to select a Song (p. 16).

4. Press [ ] to play the Song.

To stop, press [ ] once again.

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Moving the playback location of a song

Use the SONG buttons to specify the song playback location.

USB Memory Player
(SMF/Audio File Player)
[ ] Returns to the beginning of the song.

[ ] Rewinds the song.

Playlist: Playlist is a function that lets you create a list of songs in a
[ ] Fast-forwards the song.
specified order, and play them back consecutively on the Prelude.
[ ] Moves to the end of the song. You can use the “Playlist Editor” software supplied with the Prelude
to create a playlist on your computer.
[ ] Plays or pauses the song.
Songlist: The list of songs specified in the playlist is called a
Songlist.
Performing along with a song
([MINUS ONE/CENTER CANCEL]) Creating a playlist
Start up “Playlist Editor” and create a playlist.
You can press [MINUS ONE/CENTER CANCEL] to mute
(silence) the specified Part. This is called the “Minus One” * For details on creating a playlist, refer to
“PlaylistEditorManualE.pdf,” which is installed together
function. To specify the Part that will be muted, see below.
with “Playlist Editor” (you’ll find it in the “Help” menu).
Each time you press [MINUS ONE/CENTER CANCEL], the Minus
One function will be turned on (button lit) or off (button unlit).
• You cannot create playlists on Prelude itself.
Specifying the Part that will be muted
• You can play back individual songs even without
creating a playlist (see “Playing Back SMF/Audio
1. Press [MENU].
Files”). This only works for SMF or audio files in the
2. Use [ ][ ] to select “Minus One Setting” then press root directory of your USB memory.
[ENTER]. • Only audio files whose sampling frequency is 44.1kHz
You can also call up this page bt pressing and holding the can be played.
[MINUS ONE] button. • The Prelude can handle up to a maximum of 999 songs
and playlists. (“Playlist Editor” can handle up to 999
3. Use the cursor buttons to select the Part that you want to playlists.)
mute.

4. Turn the VALUE dial to set it to ON or OFF.

Playing Back SMF/Audio Files
5. When you’re finished making settings, press [EXIT].
You can play back SMF files or audio files saved in USB memory.

This setting is system parameter.

SMF/Audio files that can be played
SMF
Back Up Song Files 0 or 1
* With format 1 SMFs, there are
Format
Song data you created on the Prelude can be saved on USB limitations on the tracks that will be
played.
memory.
240 KB maximum (Note that this
For details, refer to “Saving User Data to USB Memory
File Size will vary slightly based on the SMF
(Backup)” (p. 48). content.)
System Exclusive Packet sizes of 512 bytes or less
Other Functions Related to Song Audio File
WAV/ Sampling Rate 44.1 kHz
AIFF Bit Depth 8/16/24 bits
“Using Preset Performances” (p. 36) Format MPEG-1 audio layer 3
“Using the Metronome” (p. 22) Sampling Rate 44.1 kHz
“Saving User Data to USB Memory (Backup)” (p. 48) MP3 32/40/48/56/64/80/96/
“Loading User Data Saved on USB Memory (Import)” (p. 48) Bit Rates 112/128/160/192/224/256/
320 kbps, VBR (Variable Bit Rate)

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SONG SELECT Screen

USB Memory Player Screens In the Main screen, select the SONG icon and press [ENTER]
to access the SONG SELECT screen.
Main Screen (1)
When you connect USB memory to the Prelude and press [USB
MEMORY PLAYER], the Main screen will appear as follows. (3)
(4)
(1) (2) (2) (5)
(6)
(7)
(3)
(4) 1. The name of the currently selected playlist
2. Song List
(5) (6) Select a song from the list and press [ ] to move the
cursor to the icons in the right side of the screen. Select an
1. PLAYLIST icon: Indicates the PLAYLIST SELECT screen. icon and press [ENTER] to perform the following operations.
2. SONG icon: Indicates the SONG SELECT screen. 3. P INFO icon: Displays information for the currently selected
3. The number and name of the currently selected Song playlist.

4. The group, number, and name of the currently selected 4. S INFO icon: Displays information for the currently selected
Performance song.

5. The number and name of the Tone selected for the Lower Part 5. CHANGE icon: Changes the playback order of the
currently selected song. For details, refer to “Changing the
6. The number and name of the Tone selected for the Upper Part
song order” (p. 33).
7. The measure number and tempo or time of the Song
6. DELETE icon: Deletes the currently selected song from the
playlist. For details, refer to “Deleting the song” (p. 33).
PLAYLIST SELECT Screen
In the Main screen, select the PLAYLIST icon and press [ENTER]
Song Playback ([USB MEMORY PLAYER])
to access the PLAYLIST SELECT screen.
fig.disp-USBmp-songlist.eps

Connect the USB memory containing the playlist and songs to

(2) the Prelude, and turn [USB MEMORY PLAYER] on.
(1) Play the songs as described below. Use the USB MEMORY
PLAYER CONTROL buttons to specify the song playback
location.
1. PLAYLIST list
In the list, choose playlist and press [ ]; the cursor will Returns to the beginning of the song.
move to the icon in the right side of the screen. Select an [ ] Pressing this button at the beginning of the
icon and press [ENTER] to perform the following operations. song moves to the previous song.
[ ] Rewinds the song.

Playlists that show a at the left of the name don’t allow you [ ] Fast-forwards the song.
to edit the playlist settings or the settings of the songs in the Moves to the next song.
[ ]
playlist.
[ ] Plays or pauses the song.
2. P INFO icon: Displays information for the currently selected
playlist.
Selecting a playlist and playing it

1. In the Main screen, move the cursor to the PLAYLIST icon in

the upper line of the screen, and press [ENTER].
The PLAYLIST SELECT screen will appear.
Alternatively, you can access the PLAYLIST SELECT screen
from the Main screen by pressing [USB MEMORY PLAYER]
with [USB MEMORY PLAYER] turned on (button lit).

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2. Use [ ][ ] to select the playlist that you want to play. 6. To stop the song playback, press [ ] again.

3. When you press [ ], the songs in the selected

Songs you play back directly from the root directory of a USB
playlist will be played in the specified order.
memory are not available for re-recording operations. To use
Press [EXIT] to return to the Main screen. such SMF songs as a starting point for parts you want to add
or replace, you first need to import the song in (p. 48).
4. To stop the song playback, press [ ].
If you then press [ ], playback will start from the
point at which you stopped. Performing along with a song
([MINUS ONE/CENTER CANCEL])
Selecting and playing a song from
By pressing [MINUS ONE/CENTER CANCEL] you can perform
within a songlist
the following operations depending on the type of song data.

1. In the Main screen, move the cursor to “SONG” in the File Function Explanation
upper line of the screen, and press [ENTER]. Mutes the specified Part. To
The songlist for the currently selected playlist will appear. Minus specify the Part that will be muted,
SMF
Alternatively, you can view the songlist by selecting a One refer to “Specifying the Part that
playlist in step 2 of “Selecting a playlist and playing it” will be muted” (p. 30).
(above), and pressing [ENTER].
Minimizes the playback volume
2. Use [ ][ ] to select the song that you want to play. Center of the sound that’s heard from the
Audio file
Cancel center (e.g., vocal or melody
3. Press [ ] to play the selected song. instrument).
Press [EXIT] to return to the Main screen.
Each time you press [MINUS ONE/CENTER CANCEL], the
4. To stop the song playback, press [ ]. function will turn on (button lit) or off (button unlit).

If you then press [ ], playback will start from the

point at which you stopped.

Selecting and playing back ‘external’

songs without creating a playlist

1. After placing the SMF or Audio files in the root directory of

your USB memory, connect it t the Prelude and press the
[USB MEMORY PLAYER] button.

2. Use [ ][ ] to select the USB memory folder.

3. Press [ENTER]
The list of the songs that you placed in the root directory
appears in the display.

4. Use [ ][ ] to select the song that you want to play

and press [ENTER].

5. Press [ ] to play the selected song.

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Backing Track Functions

If you do not want to delete, press [EXIT].

Editing Playlist
Adjusting the volume of each song

If you modify the content of the playlist, an “*” will be shown

1. In the SONG SELECT screen (p. 31), choose the S INFO icon
before the playlist name. If you want to keep the playlist you
and then press [ENTER].
changed, execute the Write operation (see the right column). If
you select a different playlist without writing your settings, they
2. Use [ ] to select “Level Edit,” and then press [ENTER].
will revert to their original state.
The SONG INFO (LEVEL) screen will appear.

Selecting the playback mode

This item is not shown for internal songs (SONG).

1. In the PLAYLIST SELECT (p. 31),or SONG SELECT screen (p. 3. Use the cursor buttons to select a parameter.
31), choose the P INFO icon and then press [ENTER].
4. Turn the VALUE dial to adjust the value.
2. Use [ ] to select “Chain Play” or “Repeat All” for the
Parameter Value Explanation
Playback Mode.
Assuming that the original volume (the
3. Turn the VALUE dial or press the [ENTER] button to add or Level -12–0– volume of the song in USB memory) is
Adjust +12 0, you can adjust the volume within
remove a check mark (✔).
this range: -12–0–+12.
A function is on when a check mark has been added. If the song’s file type is SMF, you can
adjust the volume individually for Parts
Parameter Explanation
Part 1–16. Move the cursor to the Part
If this is on, the songs in the playlist will play
Chain 1–16 0–127 number shown at the bottom of the
consecutively. Level
Play screen and press [ENTER], and you’ll
Playback will stop when the last song has ended.
be able to adjust the volume of that
If this is on, when the last song in the playlist has
Part.
ended, the unit returns to the first song and enters
Repeat
pause mode.
All
If Chain Play is on, consecutive playback will When [USB MEMORY PLAYER] is on, you can press [PART
continue repeating. VIEW] repeatedly to switch from the Main screen to SONG
INFO (LEVEL) → PERFORM MIXER (p. 24) → Main screen.
Changing the song order
Saving playlist settings to USB memory
1. In the SONG SELECT screen (p. 31), choose the CHANGE ([WRITE])
icon and then press [ENTER].
The song order change window will appear. Here’s how Playlist settings you’ve edited on the Prelude can
be saved to USB memory.
2. Turn the VALUE dial to specify the desired position of the
currently selected song. 1. Press [WRITE].

3. When you’ve specified the desired position, press [ENTER]. 2. Use [ ][ ] to select “Playlist,” and then press [ENTER].

If you do not want to change the position, press [EXIT]. The confirmation window will appear.

3. Press [ENTER] to save playlists on the USB memory.

Deleting the song If you press [EXIT], you’re returned to the previous screen
without playlists being saved.
1. In the SONG SELECT screen (p. 31), choose the DELETE icon
and then press [ENTER].
A confirmation window will appear.

2. Press [ENTER].

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Performance Functions and Effects

Performance Features The usable range of the D Beam controller

The diagram shows the usable range of
the D Beam controller. Waving your
D Beam Controller hand outside this range will produce no
effect.
The D Beam controller can be used simply by waving your
hand over it. Depending on the function that is assigned to it,
the D Beam controller can be used to apply varius effects and The usable range of the D Beam
to modify the sounds. controller will become extremely small when used under
strong direct sunlight. Please be aware of this when using
the D Beam controller outside.

The sensitivity of the D Beam controller will change depending

on the amount of light in the vicinity of the unit. If it does not
function as you expect, adjust the D Beam Sens parameter as
appropriate for the brightness of your location. Increase this
value will raise the sensitivity (p. 46).

1. Press the [PITCH], [FILTER] or [VOLUME] button in the D Assigning a function to the D Beam
BEAM section (the button you press lights blue). controller

You can’t use these buttons at the same time.

1. Press and hold the [FILTER] or [VOLUME] button.
The D BEAM screen will appear.
Button Explanation
2. Use [ ][ ] to select a parameter.
Lets you change the pitch of the sounds
PITCH
you play on the keyboard.
3. Turn the VALUE dial to select the desired D Beam function.
Changes the tonal character of the
sounds you play n the keyboard. (For 4. When you’ve finished making settings, press [EXIT].
FILTER
some sounds the timbre change may be The Main screen will appear.
difficult to notice.)

Changes the volume of the sounds you These settings are system parameters (p. 45).
VOLUME
play on the keyboard.
Functions that can be assigned
2. While you play the keyboard to produce sound, place
your hand above the D Beam controller and move it slowly D Beam
Explanation
function
up and down.
A snare drum roll will continue as long as your
The button you pressed in step (1) above flashes.
DRUM hand is positioned over the D Beam. Move your
ROLL* hand closer to increase the volume, and move
3. To turn off the D Beam controller, once again press the
your hand rapidly away to play a cymbal.
button you pressed in step (1) so the indicator goes out.
Chimes will sound when you position your hand
CHIMES* above the D Beam. The volume is greater when
you move your hand more rapidly.
The sound of bubbles will continue as long as
your hand is positioned above the D Beam. The
BUBBLE*
volume will increase as you move your hand
closer.

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Performance Functions and Effects

D Beam D Beam
Explanation Explanation
function function
The sound of running water will continue as long The pitch will rise when you bring your hand
as your hand is positioned above the D Beam. BEND UP closer to the D Beam. The pitch will return to the
STREAM*
The volume will increase as you move your hand original level when you take your hand away.
closer. The pitch will fall when you bring your hand
BEND
An explosion will sound when you position your closer to the D Beam. The pitch will return to the
EXPLO- DOWN
hand over the D Beam. The volume is greater original level when you take your hand away.
SION*
when you move your hand more rapidly. When you bring your hand closer to the D Beam,
A pistol shot will sound when you position your the volume of the keyboard performance will
GUN
hand over the D Beam. The volume is greater EXP+UP increase and the pitch will rise. The pitch and
SHOT*
when you move your hand more rapidly. volume will return to the original level when you
An engine will continue sounding as long as take your hand away.
your hand is positioned above the D Beam. The When you bring your hand closer to the D Beam,
ENGINE*
volume will increase as you move your hand the volume of the keyboard performance will
EXP+
closer. increase and the pitch will fall. The pitch and
DOWN
Applause will continue sounding as long as your volume will return to the original level when you
hand is positioned above the D Beam. The take your hand away.
APPLAUSE*
volume will increase as you move your hand The tempo will become faster when you bring
closer. your hand closer to the D Beam. The tempo will
TEMPO UP
Laughter will sound when you position your hand return to the original value when you take your
LAUGH- hand away.
over the D Beam. The volume is greater when
ING*
you move your hand more rapidly. The tempo will become slower when you bring
A scream will sound when you position your TEMPO your hand closer to the D Beam. The tempo will
SCREAM- DOWN return to the original value when you take your
hand over the D Beam. The volume is greater
ING* hand away.
when you move your hand more rapidly.
A bird call will sound when you position your Playback will start when you position your hand
START/
BIRD* hand over the D Beam. The volume is greater over the D Beam. Playback will stop when you
STOP
when you move your hand more rapidly. position your hand over the D Beam once again.

A dog’s bark will sound when you position your FILL UP If you position your hand over the D Beam while
DOG* hand over the D Beam. The volume is greater FILL DOWN the backing is playing, a fill-in will sound (p. 24).
when you move your hand more rapidly. If you position your hand over the D Beam, the
Surf will sound when you position your hand volume will begin decreasing and will then reach
SEA-
over the D Beam. The volume will increase as FADE OUT zero. The backing performance will stop, and
SHORE*
you move your hand closer. then the original volume will return after two or
The sound of rain will continue as long as your three seconds.
hand is positioned above the D Beam. The The sound becomes brighter when you bring
RAIN*
volume will increase as you move your hand FILTER your hand closer to the D Beam. It becomes
closer. rounder when you take your hand away.
A thunder will sound when you position your The volume will increase when you bring your
THUNDER* hand over the D Beam. The volume will increase hand closer to the D Beam. The volume will
VOLUME
as you move your hand closer. return to the original level when you take your
MODULA- The D Beam controller will apply the same effect hand away.
TION as the Modulation lever (p. 36).
The volume will increase when you bring your
D Beam functions marked with an “*” cannot be recorded in a
EXPRES- hand closer to the D Beam. The volume will song.
SION return to the original level when you take your
hand away.

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Performance Functions and Effects

• Upper Tone/Lower Tone settings

If you turn off the power while the D BEAM screen is • Style settings
displayed, the D Beam setting you chose will not be • Effects settings
remembered by the Prelude. You must press [EXIT] before you • Transpose
turn off the power. • Octave shift
• Keyboard touch
• Chord mode
Pitch Bend and Modulation Lever
• Melody Intelligence
The Pitch Bend/Modulation lever located at the left of the
keyboard can be used to apply two types of effect to the Selecting a Performance ([PERFORM])
sound you’re playing in Keyboard mode.
Pitch Bend is an effect that lowers the pitch of the sound you’re The Performance memory locations are organized as follows.

playing when you move the lever toward the left, or raises it
when you move the lever toward the right. Type Explanation

Modulation is an effect that applies vibrato to the sound you’re PRST These are the Performances built into the
playing when you push the lever away from yourself. (Preset) Prelude. They cannot be overwritten.

You can use these memory locations to store

USER
If the MFX type is ROTARY, this will switch the rotational speed Performances you’ve edited.
instead of Modulation.
fig.bendlever.eps
Using the VALUE dial

Pitch Bend Modulation 1. Press [PERFORM] to select Performance mode.

(This may not be necessary, because the Prelude selects
this mode at power-up.
Pitch Bend Modulation
2. Use the cursor buttons to move the cursor to the right of
If you press the lever away from yourself while moving it to left “PERFORM,” located in the upper left of the screen, then
or right, both effects will be applied at the same time. use the VALUE dial to choose “PRST” or “USER.”
You’ll be able to select preset Performances if you choose
The extent of the pitch change can be assigned for each Tone. “PRST,” or user Performances if you choose “USER.”
For details, refer to “Pitch Bend Range” (p. 39).
3. Use the cursor buttons to move the cursor to the
Performance number, and use the VALUE dial to select a
“Bend Mode” (p. 45)
Performance.

Assignable Pedal
When the cursor in the screen is at the Performance number,
You can connect a separately available foot switch (Boss you can also select a Performance by turning [NUMERIC] on,
FS-5U) or a separately available expression pedal (Roland using the TONE SELECT buttons to enter a Performance
EV-5) to the CONTROL PEDAL jack on the rear panel. number, and then pressing [ENTER].
You can assign a variety of functions to this pedal. For details,
refer to “System Parameters” (p. 45). Choosing from the Performance list

Using Preset Performances 1. In the Main screen, use the cursor buttons to move the
cursor to the Performance number.
By selecting a preset Performance, you can quickly recall
settings that are appropriate for the song you’re playing. 2. Press [ENTER].
When you select a preset performance, settings for the
3. Use [ ][ ] to select “Preset” or “User.”
following items will be recalled.
You’ll be able to select preset Performances if you choose
• Keyboard mode
“Preset,” or user Performances if you choose “User.”

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Performance Functions and Effects

4. Use [ ][ ] or the VALUE dial to select a Performance.

Parameter Value Explanation

5. Press [ENTER] to set the Performance. This lets you use simple fingering
If you press [EXIT] without pressing [ENTER], the list will STANDARD to specify a chord without having
close without the currently selected Performance being to play all the notes in the chord.
changed. The chord will consist of only the
PIANO note(s) you play on the keyboard
Editing a Performance in the Lower Part.

You can play chords as described

You can edit the settings of a Performance, and store them as INTEL
in “Chord Intelligence” (p. 102).
a user Performance.
You can specify chords in the
Chord following four ways.
1. Press [MENU].
Mode Major chords: Play the root note
2. Use [ ][ ] to select “Perform Edit” then press [ENTER]. of the chord
Minor chords: Play the root note
3. Use [ ][ ] to select a parameter, and turn the VALUE and the black key located at its
dial to select the value. EASY left
Seventh chords: Play the root note
4. When you’ve finished making settings, press [EXIT]. and the white key located at its
The Main screen will appear. left
Minor seventh chords: Play the
root note + black key at left +
“Saving a Performance (WRITE)” (p. 39)
white key at left
Performance Parameters Selects how the backing part will sound.

When you take your hand off the

Parameter Value Explanation
left side of the keyboard,
Specifies the Split Point (the key at instrumental sounds other than the
OFF
which the keyboard will be drums of the backing part will
Split Point C#2–C7 divided) used in Split mode. This Backing stop; only the rhythm part will
will be the highest note of the Hold continue sounding.
Lower Part.
The chord you played in the left
Raises or lowers the pitch in steps hand will be remembered. The
of one octave for the Upper Tone. ON backing will continue playing
* In the case of a rhythm set, with that chord until you play
Octave another chord.
-4–+4 this does not transpose the
Upper
pitch; rather, it shifts the set of Specifies how Chord Bass will be sounded.
drum/percussion sounds that
are assigned to the keyboard. The root note of the chord you
Bass OFF
play will sound.
Inversion
Octave Raises or lowers the pitch in steps
-4–+4 The lowest note of the chord you
Lower of one octave for the Lower Tone. ON
play will sound.

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Performance Functions and Effects

Parameter Value Explanation

Editing a Tone
This boosts the sound in the
region of the cutoff frequency,
Editing a Tone in detail adding a distinctive character to
Resonance -64–+63 the sound. Turn the knob toward
You can edit the currently selected Tone (including rhythm set the right to strengthen this
Tones) in more detail. The Tone settings you edit are stored in character, or toward the left to
the Performance (p. 36). decrease it.

Adjusts the attack time (the time

1. Press [MENU]. from when you press a key until
the sound reaches its full
2. Use [ ][ ] to select “Perform Tone Edit” then press
Attack Time -64–+63 volume). Turn the knob toward
[ENTER]. the right to lengthen the attack
time, or toward the left to
3. Use [ ][ ] to select the Upper or Lower Tone that
shorten it.
you want to edit.
Adjusts the decay time (the time
4. Use [ ][ ] to select a parameter, and turn the VALUE from when the attack has
dial to adjust the value. finished until the volume reaches
Decay Time -64–+63 the level at which it will remain
5. When you’ve finished making settings, press [EXIT]. as long as you hold down the
key). Higher settings produce a
The Main screen will appear.
longer decay time.
Tone Parameters
Adjusts the release time (the time
from when you release a key
Parameter Value Explanation until the sound disappears). Turn
Release
-64–+63
Level 0–127 Adjusts the volume of the Tone. Time the knob toward the right to
lengthen the release time, or
Adjusts the panning (left/right
toward the left to shorten it.
stereo position) of the Tone.
L64–0–
Pan Values beginning with “L” place Adjusts the modulation speed of
63R Vibrato
the sound at the left, 0 at the -64–+63 vibrato. Higher settings produce
Rate
center, and “R” at the right. faster vibrato.

Chorus adds depth and Adjusts the modulation depth

Vibrato
Chorus spaciousness to the sound. This -64–+63 vibrato. Higher settings produce
0–127 Depth
Send Level adjusts the level of the signal more intense vibrato.
sent to Chorus. Adjusts the time until vibrato begins.
Vibrato
Reverb adds the reverberation -64–+63 Higher settings produce a longer
Delay
Reverb characteristics of halls or delay until vibrato will begin.
0–127
Send Level auditoriums. This adjusts the Only the last-played note will
level of the signal sent to Reverb. sound. This setting is effective
MONO
This specifies the cutoff when playing a solo instrument
frequency at which the filter will patch such as sax or flute.
Mono/Poly
begin affecting the spectral Two or more notes can be
Cutoff -64–+63 components of the sound. Turn POLY
played simultaneously.
the knob toward the right to
brighten the sound, or toward TONE Uses the Tone’s Mono/Poly setting.
the left to darken the sound.

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Performance Functions and Effects

Parameter Value Explanation

Saving a Performance (WRITE)
This setting specifies whether the
Legato Switch will be used (ON) Here’s how the settings of the current Performance can be
or not (OFF). Legato Switch is
saved in the Prelude as a new Performance.
valid when the Mono/Poly
parameter is set to “MONO.”
1. Press [WRITE].
With the Legato Switch “ON,”
pressing a key while continuing
2. Use [ ][ ] to select “Performance,” and then press
to press a previous key causes
OFF, [ENTER].
Legato the note to change pitch to the
ON,
Switch pitch of the most recently pressed
TONE Input a name for your user Performance
key, sounding all the while. This
creates a smooth transition 3. Use [ ][ ] to move the cursor, and turn the VALUE
between notes, which is effective dial to change each character, and then press [ENTER].
when you wish to simulate the
Enter a Performance name of up to 16 characters.
hammering on and pulling-off
The following characters are available.
techniques used by a guitarist.
space A~Z a~z 0~9 ! “ # $ % & ‘ ( ) * + , - . / : ; < = > ?
When “TONE” is selected, the
@[\]^_`{|}
Tone’s own settings take effect.

Specifies whether portamento Button Explanation

OFF, will be applied (ON) or not
Portamento Selects the type of character. Each time you press
ON, (OFF). When “TONE” is
Switch this, you will alternately select the first character of a
TONE selected, the Tone’s own settings [0]
character set: uppercase (A), lowercase (a), or
take effect.
numerals and symbols (0).
Adjusts the speed at which the
[1] Deletes the character at the cursor location.
pitch will change when
portamento is used. Higher [2] Inserts a space at the cursor location.
Portamento 0–127,
settings will lengthen the time over
Time TONE
which the pitch changes to the next 4. Turn the VALUE dial to select the desired destination, and
note. When “TONE” is selected, then press [ENTER].
the Tone’s own settings take effect. A confirmation window will appear.
Specifies the range of pitch
5. Press [ENTER] to save the Performance.
change that can be controlled
Pitch Bend 0–24, If you press [EXIT], you’re returned to the previous screen
using the Pitch Bend controller.
Range TONE without the Performance being saved.
When “TONE” is selected, the
Tone’s own settings take effect.

Specifies whether the hold

Other Functions Related to Performance
Hold Pedal
OFF, ON pedal will apply to the Tone
Switch
(ON) or will not apply (OFF).
“Style (Playing with an Accompaniment)” (p. 24)
Specifies whether the control “Bend Mode” (p. 45)
pedal will apply to the Tone (ON) “Saving User Data to USB Memory (Backup)” (p. 48)
Control or will have no effect (OFF). “Loading User Data Saved on USB Memory (Import)” (p. 48)
Pedal OFF, ON This is enabled when “Pedal
Switch Assign” in “System settings” is set
to EXPRESSION, SOSTENUTO,
or SOFT (p. 45).

Portamento is an effect that smoothly changes the pitch from

one note to the next. Vibrato is an effect that uses an LFO (Low
Frequency Oscillator) to cyclically vary the pitch.

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Performance Functions and Effects

Effect Parameters
Using Reverb, Chorus and Page Parameter Explanation Value
MFX Effects ([REVERB]) Specifies the amount of
chorus that will be
The Prelude contains built-in reverb, chorus, and multi-effect Upper applied to the sound of
(MFX) processors. You can choose an effect type for each MFX
the Upper Part that has 0–127
processor. Chorus
Send passed through MFX. Set
this to “0” if you don’t
MFX will apply only to the realtime performance of the part want to apply chorus.
you play by hand (the Upper Part or Lower Part). Be aware
that MFX never applies to recorded song data. Specifies the amount of
reverb that will be
Upper applied to the sound of
Editing the Reverb, Chorus and MFX MFX
Reverb
the Upper Part that has 0–127
Effects Send passed through MFX. Set
this to “0” if you don’t
want to apply reverb.
1. Press [REVERB].
The “Reverb” setting screen will appear. Specifies the amount of
chorus that will be
2. Use [ ][ ] to select a page, and use [ ][ ] to Lower applied to the sound of
MFX
select the parameter that you want to edit. the Lower Part that has 0–127
Chorus
EFFECT Send passed through MFX. Set
On some pages, the display also shows the MFX that is
SEND this to “0” if you don’t
linked to the Tone that currently selected for the Upper and
want to apply chorus.
Lower parts. The “Effect Send” allows you to set the
Chorus and Reverb Send values for the Upper and Lower Specifies the amount of
parts. reverb that will be
Lower applied to the sound of
3. Turn the VALUE dial to edit the value. MFX
the Lower Part that has 0–127
Reverb
Send passed through MFX. Set
4. When you’re finished editing the effect settings, press
this to “0” if you don’t
[REVERB] or [EXIT].
want to apply reverb.
The Main screen will appear.
Specifies how the sound
routed through chorus
will be output.
MAIN: Output to the
Chorus MAIN,
OUTPUT jacks in stereo.
Output REV,
REV: Output to reverb in
Select M+R
mono.
M+R: Output to the
OUTPUT jacks in stereo,
and to reverb in mono.

LOWER
MFX
See “Multi-Effects Parameters” (p. 56)
UPPER
MFX

CHORUS See “Chorus Parameters” (p. 82)

REVERB See “Reverb Parameters” (p. 83)

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Performance Functions and Effects

Page Parameter Explanation Value

Specifies the MFX

settings that will be used
for the Upper Part.
If you choose
Upper “PERFORM,” the MFX PERFORM,
MFX settings of the UPPER
Source Performance will be TONE
used. If you choose
“UPPER TONE,” the
Upper MFX settings of
EFFECT the Tone will be used.
SOURCE Specifies the MFX
settings that will be used
for the Lower Part.
If you choose
Lower “PERFORM,” the MFX PERFORM,
MFX settings of the LOWER
Source Performance will be TONE
used. If you choose
“LOWER TONE,” the
Lower MFX settings of
the Tone will be used.

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Using MIDI
The Prelude can transmit and receive performance data when
connected to an external MIDI device, which enables the two MIDI channel Track Style
devices to control each other’s performance. For example, one 1 1 Accomp 1
device can play or switch sounds on the other device. 2 2 Accomp bass
3 3 Accomp 2
4 4 Upper Part
MIDI stands for “Musical Instrument Digital Interface.” It is a
5 5 Accomp 3
universal standard for exchanging musical performance data
6 6
among electronic musical instruments and computers.
7 7 Accomp 4
8 8 Accomp 5
The Prelude’s MIDI connectors allow it to transmit performance
9 9 Accomp 6
data to, and receive such data from other devices. You can
10 10 Accomp drums
use the Prelude in a wide range of ways by connecting
11 11 Lower Part
external devices to these connectors.
12 12
13 13
Connection example 14 14
15 15 Melody Intelligence
16 16
Before making connections with other devices, you must turn
down the volume of all devices and turn off the power to avoid
malfunctions or speaker damage.
MIDI Parameters
fig.midi.eps

Play the Prelude’s sounds from your MIDI sequencer For details on how to make these settings, refer to “How to
MIDI sound module/
Prelude sequencer Make System Settings ([MENU])” (p. 45).

MIDI parameters other than “Local Switch” will be saved as

soon as you exit system edit mode.

Use the Prelude to play your MIDI sound module Local Switch

If the notes you play on the keyboard are sent to the sound
MIDI Channels generator via both of the two routes (1) and (2) as shown in
the diagram, the notes will be duplicated or interrupted. To
MIDI provides sixteen channels, numbered 1–16. Even if two
prevent this, you can disconnect route (1) by using the “Local
MIDI devices are connected, you won’t be able to select or
Off” setting.
play sounds on the other device unless both devices are set to
You should turn this setting Off if you’ve connected a MIDI
the same MIDI channel. The Prelude is capable of receiving on
sequencer to the Prelude.
all channels, 1–16. fig.local.eps

If the Prelude’s BACKING TYPE [SONG] is on, MIDI channels (1) Local on
1–16 will be received by “Track” 1–16. Sequencer
MIDI MIDI
If the Prelude’s BACKING TYPE [STYLE] is on, MIDI channels Sound IN OUT
generator
1–16 will be received by the “Style” Parts. Memory

MIDI MIDI
OUT IN

(2) Thru setting turned on

Play a note once;
it‘s sounded twice

Immediately after the power is turned on, this setting will be

On.

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Using MIDI

MIDI Parameters
Parameter Explanation Value
Parameter Explanation Value
This specifies how the Prelude will
Specifies whether MIDI messages
MIDI Tx synchronize to an external MIDI
will not be transmitted (OFF) or will OFF, ON
Switch device. Synchronization is
be transmitted (ON).
available if the MIDI OUT
Upper Tx Specifies the transmit channel for connector of your external MIDI
1–16 Rx Sync OFF, ON
Channel the Upper Part. device is connected to the
Lower Tx Specifies the transmit channel for Prelude’s MIDI IN connector. (If
1–16
Channel the Lower Part. you’ve made the opposite
Specifies whether MIDI messages connection, refer to the owner’s
MIDI Rx manual for your external device.)
will not be received (OFF) or will OFF, ON
Switch
be received (ON). This is an on/off switch for Pitch
Specifies the receive channel for Bend message reception. These
Upper Rx Rx Pitch
1–16 messages temporarily raise or OFF, ON
Channel the Upper Part. Bend
lower the pitch of the keyboard
Lower Rx Specifies the receive channel for
1–16 mode Tone.
Channel the Lower Part.
This is an on/off switch for
This is an on/off switch for Pitch
Modulation message reception.
Bend message transmission. Rx
These messages apply vibrato to OFF, ON
Tx Pitch Bend These messages temporarily raise OFF, ON Modulation
the keyboard mode Tone (control
or lower the pitch of the keyboard
change CC#01).
mode Tone.
This is an on/off switch for
This is an on/off switch for Rx Program Change message
Modulation message transmission. Program OFF, ON
Tx reception. These messages are
These messages apply vibrato to the OFF, ON Change
Modulation used to select Tones.
keyboard mode Tone (control
change CC#01).

Tx Program
This is an on/off switch for
Program Change message
Using the Prelude as a MIDI
OFF, ON
Change transmission. These messages are Sound Module
used to select Tones.
This specifies whether MIDI Clock If you want to use the Prelude with an external MIDI
messages will be transmitted. Use sequencer, for example to create Styles, proceed as follows.
Tx Clock this when you want a connected OFF, ON
external MIDI device to synchronize 1. Press [SONG] to put the Prelude in Song mode.
to the Prelude.
This specifies whether Start/ 2. Press [PERFORM] so it’s lit, then use the VALUE dial to
Stop/Continue messages will be select the preset Performance “128: Init Performance.”
Tx StartStop transmitted. OFF, ON
Song mode: Start/Stop/Continue
MFX (p. 40) will apply only to the part that you play manually
Style mode: Start/Stop
on the Prelude (the Upper Part or Lower Part).
This specifies whether Song
Position Pointer messages will be
transmitted to indicate the
Tx Song Po- currently playing position in Song
OFF, ON
sition mode. If you don’t want this
message to be transmitted,
choose the Off setting. This is
valid only if [SONG] is lit.

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Using MIDI

If connection to your computer is

Connecting to a Computer via unsuccessful...
the USB MIDI Connector Normally, you don’t need to install a driver in order to connect
the Prelude to your computer. However, if some problem
If you use a USB cable (commercially available) to connect the
occurs, or if the performance is poor, using the Roland original
USB MIDI connector located on the Prelude’s rear panel to the
driver may solve the problem.
USB connector of your computer, you’ll be able to do the
For details on downloading and installing the Roland original
following things.
driver, refer to the Roland website.
• Use the Prelude to play SMF played back by MIDI
Roland website:http://www.roland.com/
compatible software.
• By transferring MIDI data between the Prelude and your
sequencer software, you’ll be able to enjoy a wide range Caution
of possibilities for music production and editing.
• To avoid the risk of malfunction and/or speaker
Connect the Prelude to your computer as shown below. damage, always make sure to turn the volume all the
fig.PCconnect.eps way down and turn off the power on all equipment
Computer before you make any connections.
To USB connector
of computer • Only MIDI data can be transmitted and received via
USB cable
USB.
• A USB cable is not included. If you need to obtain
one, ask the dealer where you purchased the Prelude.

• Switch on power to the Prelude before you start up

USB MIDI connector
the MIDI application on your computer. Don’t turn the
Prelude’s power on/off while your MIDI application is
running.

Prelude
Refer to the Roland website for system requirements. Making the Settings for the USB Driver
Roland website: http://www.roland.com/ Specify the USB driver you want to use, and then install the
driver.
If you are using Windows XP/Windows Vista, you must log
onto Windows as one of the following users in order to 1. Press [MENU].
complete the USB connection correctly.
• A user name belonging to the Administrators group, such 2. Use [ ][ ] to select “System” then press [ENTER].
as Administrator
3. Use [ ][ ] to select “SYSTEM GENERAL” page.
• A user name whose account type is a computer administrator

4. Use [ ][ ] to select “USB Driver.”

Do not connect two or more Prelude units to one computer via
USB. The system will not operate correctly with such connections. 5. Turn the VALUE dial to select the driver.
An information message appears.

The file name for a Style or Song that can be used by the
Value Explanation
Prelude must be no longer than sixteen characters (not
including the filename extension). You can use the following VENDER Select this if you use the supplied driver.
characters.
Select this if you use a generic USB driver
A~Z 0~9 ! # $ % & ‘ ( ) - @ ^ _ ` { } GENERIC
included with the OS.
You must assign a filename extension of “.stl” to Style files,
and a filename extension of “.mid” to Song files. 6. Press [EXIT].
Depending on the type of characters you use, it may not be
7. Turn the power off and then on again.
possible to display the file name in some cases.

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System Settings
Settings that affect the entire operating environment of the Set the time (minutes) until the screen
Prelude, such as tuning and MIDI message reception, are OFF, 5,
Screen saver begins working. If this is
referred to as “system settings.” 10–60
Saver Time “OFF,” the screen saver will not
(min)
appear.

How to Make System Settings USB

Driver
VENDER, Refer to “Making the Settings for the
GENERIC USB Driver” (p. 44).
([MENU]) SYSTEM PEDAL
Parameter Value Explanation
1. Press [MENU].
Selects the function that will be controlled when
2. Use [ ][ ] to select “System” then press [ENTER]. you press a separately available pedal
connected to the CONTROL PEDAL jack.
3. Use [ ][ ] to select a page, and use [ ][ ] to The pedal will function as an
EXPRESSION
select the parameter that you want to edit. Expression pedal.
For details, refer to “System Parameters” (below). Chord detection in the Lower Part
area of the keyboard will be off
4. Turn the VALUE dial to edit the value. while you hold down the pedal,
CHORD
allowing you to perform using the
5. When you’re finished making system settings, press [EXIT]. OFF
entire keyboard. The setting will
The display briefly shows the “System write completed” return to its previous state when you
message. release the pedal.
Chord detection in the Lower Part
The System settings are saved in the System memory and can area will turn off when you press the
be imported/exported to/from the USB memory’s “Sound/ pedal, allowing you to perform using
System” folder (p. 48). CHORD the entire keyboard. The setting will
TOGGLE return to its previous state when you
press the pedal once again, so that
System Parameters chord detection will be on for the
Lower Part area.

SYSTEM GENERAL Pedal The pedal will function as a

Assign Sostenuto pedal. When you press
Parameter Value Explanation
the pedal, notes that are already
Adjusts the tuning of the entire SOSTENUTO
415.3– being held down will be sustained.
Master
Prelude. The displayed value is the (This function can be used only for
Tune 466.2Hz
frequency of the A4 key (middle A). the keyboard part.)
Local The pedal will function as a Soft
OFF, ON Refer to “Local Switch” (p. 42).
Switch*
pedal. Notes you play while holding
System Transposes the pitch of the Prelude in SOFT down the pedal will have a softer
-6–+5
Transpose* semitone steps. tone. (This function can be used only
The pitch bend lever will operate in the for the keyboard part.)
NORMAL
conventional way. The pedal will switch the speed of the
ROTARY
If you play a note when the pitch rotary effect. This is valid only if the
SLOW/
bend lever is already moved to one ROTARY type is selected for MFX (p.
FAST
side, the pitch will sound as though 40).
the lever were in the center position. START/ The pedal will start/stop the backing
Bend
Mode When the lever passes through the STOP or song playback.
CATCH+
center position, it will once again
LAST BASS The pedal will switch the Bass Inversion
begin affecting the pitch. This will
INVERSION function on/off (p. 37).
apply only to the most recently
The pedal will control punch-in and
played note. You can use this to PUNCH
punch-out during song recording (p.
simulate the double-bending IN/OUT
28).
technique of an electric guitarist.

45
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System Settings

The pedal will trigger a fill-in, and SYSTEM MIDI

then the next variation will play Parameter Value Explanation
(e.g., from MAIN “1” to “2”). Once
FILL UP MIDI Tx
you reach variation “4,” subsequent OFF, ON
Switch
presses of the pedal will not change
Upper Tx
the variation any farther. 1–16
Channel
The pedal will trigger a fill-in, and
Lower Tx
then the previous variation will play 1–16
Channel
FILL (e.g., from MAIN “4” to “3”). Once Refer to “MIDI Parameters” (p. 43).
Pedal MIDI Rx
Assign DOWN you reach variation “1,” subsequent OFF, ON
Switch
presses of the pedal will not change
Upper Rx
the variation any farther. 1–16
Channel
The pedal will switch to the next
PERFORM Lower Rx
Performance (i.e., from PERFORM 1–16
UP Channel
001 to 002).
Tx
The pedal will switch to the previous
PERFORM Tx Pitch
Performance (i.e., from PERFORM OFF, ON
DOWN Bend
002 to 001).
Tx
Switches the polarity of the pedal OFF, ON
Modulation
connected to the CONTROL PEDAL
Tx
jack. Some pedals will operate in the Program OFF, ON
opposite of the expected way when Change Refer to “MIDI Parameters” (p. 43).
Pedal STANDARD,
you press them. If you’re using this Tx Clock OFF, ON
Polarity REVERSE
type of pedal, set this parameter to
Tx Start-
“REVERSE.” If you’re using a Roland OFF, ON
Stop
pedal (without a polarity switch), use
Tx Song
“STANDARD.” OFF, ON
Position
Switches the polarity of the pedal
Hold STANDARD,
connected to the HOLD PEDAL jack.
Polarity REVERSE
(See “Pedal Polarity,” above)
Rx
Rx Sync OFF, ON
SYSTEM D BEAM
Rx Pitch
Parameter Value Explanation OFF, ON
Bend
This sets the D Beam controller’s Rx
OFF, ON Refer to “MIDI Parameters” (p. 43).
D Beam sensitivity. The higher the value set, Modulation
0–127
Sens the more readily the D Beam Rx
controller goes to into erect. Program OFF, ON
D Beam Change
Filter/As- SYSTEM METRONOME
signable 1
Parameter Value Explanation
D Beam Refer to “Functions that can be assigned” (p. 34).
Metronome
Volume/ OFF, ON
Switch*
Assign-
able 2 Metronome ALWAYS,
Mode Refer to “Using the Metronome” (p.
REC, PLAY
22).
LOW,
Metronome
MEDIUM,
Level
HIGH

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System Settings

SYSTEM LOCK
Parameter Value Explanation Viewing Information about Prelude
Style OFF, ON (System Version Info Screens)
Tone OFF, ON Refer to “Preserving Certain Settings
Here’s how to view information about the Prelude such as its
Style Tem- Even When You Switch
OFF, ON software version.
po Performances (Lock System)” (p. 17).
Transpose OFF, ON
1. Press [MENU].

2. Use [ ][ ] to select “Version” then press [ENTER].

Settings cannot be stored for the parameters marked by “*” in
the table. When the power is turned on, these parameter will
3. Use [ ][ ] to select a page.
always return to the same value (the default value).
You can view information about the imported Special
System settings that are not stored Tones as well as the version of software used by the
In addition to the parameters marked by “*” in the above Prelude.
table, the following settings cannot be stored.
4. Press [EXIT] to return to the Main screen.
• BALANCE button setting (p. 23)
• Recording setting (p. 28)
Rec Mode/Count In/Punch In/Out setting/Input Quantize
• D Beam controller on/off (p. 34)
• External input Center Cancel (p. 18)
• MINUS ONE/CENTER CANCEL button on/off (p. 30, p. 32)

47
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Using USB Memory

You can save Prelude user data to USB memory (i.e., back up 4. Use the cursor buttons to select an item then press [ENTER].
data), or load data from USB memory into the Prelude. Data
you’ve downloaded to your computer can also be saved to Item Explanation
USB memory and then loaded into the Prelude. Style All user Styles will be saved to USB memory.

Song All user Songs will be saved to USB memory.

Carefully insert the USB memory all the way in-until it is firmly
Sound/ User Performances and System settings will
in place.
System be saved to USB memory.

All All user data will be saved to USB memory.

Initializing USB Memory
A confirmation window will appear.
(USB Memory Format) If you do not want to export the data to the USB memory,
press [EXIT].
Here’s how to initialize the USB memory. This operation is
called “USB Memory Format.” 5. Press [ENTER] to export the data.
USB memory cannot be used with the Prelude unless it is
formatted suitably for the Prelude. Loading User Data Saved on USB
Memory (Import)
This operation will erase all data on your USB memory. Use
this operation with caution.
1. Press [MENU].

1. Press [MENU]. 2. Use [ ][ ] to select “Utility” then press [ENTER].

2. Use [ ][ ] to select “Utility” then press [ENTER]. 3. Use the cursor buttons to select “Import” then press [ENTER].

3. Use the cursor buttons to select “USB Memory Format” 4. Use the cursor buttons to select an item then press [ENTER].
then press [ENTER].
A confirmation window will appear. Item Explanation
If you do not want to format the USB memory, press [EXIT]. All Style data will be loaded into the Prelude’s
Style
user Styles.
4. Press [ENTER] to execute the format.
All Song data will be loaded into the
Song
Prelude’s user Songs.
Don’t remove the USB memory until formatting is completed.
Sound/ User Performances and System settings will
System be loaded into the Prelude.
Saving User Data to USB All All data will be loaded into the Prelude.

Memory (Backup)
The amount of data loaded into the Prelude will depend on the
The following user data of the Prelude can be saved on USB
amount of free memory in the Prelude.
memory.
• User Styles (p. 25) A confirmation window will appear.
If you do not want to load the data, press [EXIT].
• User Songs (p. 28)

• User Performances (p. 36) 5. Press [ENTER] to load the data.

• System settings (p. 45)
Any file with a name consisting of seventeen or more
1. Press [MENU]. characters (not including the filename extension) cannot be
loaded into the Prelude.
2. Use [ ][ ] to select “Utility” then press [ENTER].

3. Use the cursor buttons to select “Export” then press [ENTER].

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Using USB Memory

Deleting user data that you loaded

To delete User Styles, refer to “Deleting a User Style” (p. 25).

Importing Data You’ve Saved
To delete User Songs, refer to “Deleting a Song” (p. 29). in USB Memory ([USB IMPORT])
Before you continue, save the downloaded data from your
Data Structure in USB Memory computer to the USB memory you’re using. Connect the USB
memory to the Prelude, and import the data you saved.
The folders and files that will be created are as follows.
If you add Tones, the imported Tones will be added to
Root directory [WORLD] and [SPECIAL].
ROLAND folder Refer to the Roland website; http://www.roland.com/
SOUND folder
Prelude.svd

SONG folder
***.mid

STYLE folder
***.stl

PLAYLIST folder
PLAYLIST.scp

UPDATE folder
Updater
ROM folder

The folders and files created on USB memory will be visible

from your computer.
By manipulating the files from your computer, you can do the
following things.

• You can place SMF files in the SONG folder and import
them into the Prelude (p. 48).

• You can drag and drop files from the SONG folder to
copy them.

• You can place Style files in the STYLE folder and import
them into the Prelude (p. 48).

• You can drag and drop files from the STYLE folder to copy
them.

• You can place SMF, mp3, AIFF and Wave files in the root
directory, to individually play them back with the USB
MEMORY PLAYER function (p. 32).

• You can import/export User Performances in the Sound

folder.

• You can import/export the System settings in the Sound

folder.

• You can create playlists in the Playlist folder “Creating a

playlist” (p. 30).

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About V-LINK
Connecting the Prelude to a V-LINK compatible image device 5. Press [EXIT] to return to the previous screen.
allows you to control the images with the Prelude.
V-LINK SETUP Parameters

To prevent malfunction and/or damage to speakers or other

Parameter Value Explanation
devices, always turn down the volume, and turn off the power
on all devices before making any connections. Note Tx
Channel A
Controls the V-
V-LINK
Note Tx LINK device.
V-LINK ( ) is a function that allows music and 1–16
Channel B Specify the MIDI
images to be performed together. By using MIDI to connect channel. (*)
Note Tx
two or more V-LINK compatible devices, you can easily enjoy
Channel C
performing a wide range of visual effects that are linked to the
expressive elements of a music performance. Assigns a V-LINK function to the
D Beam controller.

How to Use the V-LINK ([V-LINK]) The operation

selected by D
BEAM buttons will
1. Press [V-LINK] so the indicator is lit. OFF
occur regardless of
The V-LINK screen will appear, and the V-LINK setting will whether V-LINK is
be on. on or off.
Operations on the Prelude ColorEQ CC01 Used with
By operating the Prelude’s keyboard and knobs, you can Fore (Modulation) motion dive
control the image along with your performance on the .tokyo
D BEAM ColorEQ
Prelude. CC71 (Resonance) Performanc
Back
• [0] (Clip Reset): Turns the image off (solid black). e Package
• [1] (All Reset): Resets the effect applied to the image, and Scratch
CC03
restores all settings such as brightness and hue to their SW
default values. Speed
CC08 (Balance)
• [2] (Setup): Accesses the V-LINK SETUP screen. Knob
• Black keys: Switch tabs.
Total
• White keys: Switch clips. CC10 (Panpot)
Fader
• D Beam controller: Controls the parameter specified in V-
Cross
LINK setup. CC11 (Expression)
Fader
* When you turn V-LINK on, the settings in V-LINK setup will
take priority for D Beam operation.

2. With the V-LINK screen shown, press [V-LINK] again.

The V-LINK button will go dark, and the V-LINK setting will
be off.

V-LINK Settings (V-LINK SETUP)

1. Press [V-LINK] to access the V-LINK screen.

2. Press [2] (Setup).

The V-LINK SETUP screen will appear.

3. Use [ ][ ] to move the cursor to the parameter you

want to edit.

4. Use the VALUE dial to set the value.

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About V-LINK

Parameter Value Explanation

BPM
CC64 (Hold)
Sync SW

Clip CC65
Loop SW (Portamento)

Assign
CC72 (Release)
Knob

Fade
CC73 (Attack)
Time SW

Visual
CC74 (Cutoff)
Knob
Used with
AB SW CC81 (General–6) motion dive
.tokyo
Tap SW CC83 (General–8)
Performanc
Total e Package
CC85
Select

FX Select CC86

Play Pos CC91 (Reverb)

Loop
CC92 (Tremolo)
D BEAM StartPos

Loop End
CC93 (Chorus)
Pos

Layer
CC94 (Celeste)
ModeSel

Dissolve Used with

CC73 (Attack)
Time the DV-7PR
and similar
Color Cb CC01
devices.
Ctrl (Modulation)

Color Cr
CC71 (Resonance)
Ctrl

Brightness
CC74 (Cutoff)
Ctrl

VFX1 Ctrl CC72 (Release)

VFX2 Ctrl CC91 (Reverb)

VFX3 Ctrl CC92 (Tremolo)

VFX4 Ctrl CC93 (Chorus)

Fade Ctrl CC10 (Panpot)

* On V-LINK compatible devices such as the Edirol DV-7PR/P-

1, only Note Tx Channel A is used.
In motion dive .tokyo Performance Package, the Note Tx
Channel corresponds as follows.
A: The MIDI channel that controls section A
B: The MIDI channel that controls section B
C: The MIDI channel that controls the MIDI note plug-in

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MEMO

52
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Appendices

Troubleshooting
This section provides points to check and actions to take when the Prelude does not function as you expect. Refer to the appropriate
section for the problem you are experiencing.

Problem Check/Solution Page

Is the included AC adaptor/power cord correctly connected to an AC outlet and

to the Prelude?
Power Does Not Turn On p. 14
• Do not use any AC adaptor and power cord other than the one included.
Doing so will cause malfunctions.

Could the VOLUME knob be turned down? —

If playing the keyboard does not produce sound, could Local Switch be turned
p. 42
OFF?
No Sound from the Prelude p. 45
• Turn Local Switch ON.

Could pedal operations or MIDI messages (exclusive or volume) received from

—
an external MIDI device have lowered the volume?

Could the volume of the Part be turned down?

p. 24
• Adjust the volume parameters in the PERFORM MIXER screen.

Could you have used the Minus-One function to mute (silence) a specific Part? p. 30
No Sound from a Specific Part
Does the MIDI receive channel of the part match the MIDI transmit channel of the
connected MIDI device? p. 42
• Set the MIDI channel of the connected external device to match the p. 45
Prelude.

Are MIDI messages being transmitted? p. 43

• Turn MIDI TxRx to a setting other than OFF. p. 45
No Sound from a Connected MIDI Does the MIDI transmit channel of the Prelude’s keyboard controller section
Device match the MIDI receive channel of the connected MIDI device? p. 43
• Set the MIDI channel of the connected external device to match the p. 45
Prelude.

The volume level of the instrument Could you be using a connection cable that contains a resistor? Use a connec-
—
connected to EXT INPUT is too low. tion cable that does not contain a resistor.

The reverb and chorus effects for the keyboard parts won’t be applied if their
amounts are set to 0. p. 40
• Check the Effect Send settings.
Effects Are Not Applied
MFX will apply only to the realtime performance of the part you play by hand
(the Upper Part or Lower Part). Be aware that MFX will not apply to recorded —
song data.

Some combinations of Tones and effects may sound different in comparison to

The Effect Sounds Wrong other Tones. p. 40
• Check the Effect Source settings.

Pitch Bend Not Obtained When Could the Pitch Bend Range be set to 0?
p. 39
Pitch Bend Lever Is Moved • Set the Pitch Bend Range to a value other than 0.

For some effect or Part volume settings, the sound may distort. Adjust the follow-
ing parameters. p. 24
• Volume parameters in the PERFORM MIXER screen p. 40
Sound Is Distorted • Amount of reverb or chorus for the Effect Send settings p. 23
• Overall volume and volume balance

Could you be applying an effect such as overdrive or distortion which intention-

p. 40
ally distorts the sound?

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Appendices

Problem Check/Solution Page

For some Tones, the pitch in certain ranges may sound different than other
—
Tones.

Could the tuning of the Prelude be incorrect?

Pitch Is Wrong p. 45
• Check the Master Tune setting.

Could the pitch have been changed by pedal operations or by pitch bend mes-
—
sages received from an external MIDI device?

If you attempt to play more than 128 voices simultaneously, currently sounding
Notes Are Cut Off —
notes may be cut off.

Check the format of your USB memory.

USB memory is not detected.
The Prelude can use USB memory that has been formatted as FAT. If your USB —
The files are not shown.
memory was formatted using any other method, please re-format it using FAT.

Check the following points.

Can’t back up to USB memory • Could the USB memory be write protected? —
• Is there sufficient free space on the USB memory?

This may be due to the following reasons.

• Playlists may not be shown if you directly add/delete/modify the song
data in the ROLAND folder without using Playlist Editor. p. 49
Playlists are not shown • For some reason the USB memory is not recognized.
• It is possible that the USB memory was not formatted correctly. The Prelude
can use USB memory that has been formatted as FAT. If your USB memory
was formatted using any other method, please re-format it using FAT.

• Are the songs placed in the root directory?

Songs may not be shown if you directly add/delete/modify the song data
p. 49
in the ROLAND folder without using Playlist Editor.
Songs are not shown
• It is possible that the USB memory was not formatted correctly. The Prelude
can use USB memory that has been formatted as FAT. If your USB memory
was formatted using any other method, please re-format it using FAT.

Check the file name.

• The file name for a Style or Song that can be used by the Prelude must be
no longer than sixteen characters (not including the filename extension).
Songs or Styles saved on USB
You can use the following characters. —
memory are not shown
A~Z 0~9 ! # $ % & ‘ ( ) - @ ^ _ ` { }
• You must assign a filename extension of “.stl” to Style files, and a filename
extension of “.mid” to Song files.

This may be due to the following reasons.

• The file type of the song is not one of the file types that the Prelude can
play. p. 30
Songs won’t play
• It may be that the song data is damaged. p. 49
• Songs cannot be played if you directly add/delete/modify the song data
in the ROLAND folder without using Playlist Editor.

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Error Messages
If an incorrect operation is performed, or if processing could not be performed as you specified, an error message will appear.
Refer to the explanation for the error message that appears, and take the appropriate action.

Message Meaning Action

USB Memory Not Ready! USB memory is not connected. Connect USB memory.

The data could not be read. Load the data once again.

Failed to load data from USB memory. Make sure that USB memory is correctly connected.
Read Error! It may be that the file is damaged. Do not use this file.

This file cannot be loaded since its format is in- Do not use this file.
correct.

Failed to write the data. Write the data once again.

Failed to write data to USB memory. Make sure that USB memory is correctly connected.

Data cannot be written because the USB mem- Delete unneeded files from the USB memory. Alter-
Write Error! ory has no more free space. natively, use a different USB memory device, one
that has more free space available.

The file or the USB memory itself is write pro- Make sure that the file or the USB memory is not
tected. write protected.

This is a file that the 55 is unable to play. Do not use this file.

This song has not been transferred from Playl- Select the song for transfer from Playlist Editor, and
Incorrect File! ist Editor to USB memory. transfer the data once again to USB memory.

The file uses a sampling rate that the Prelude Use a song whose sampling rate is 44.1 kHz.
cannot play.

It is possible that the contents of system memo- Please execute a Factory Reset.
System Memory
ry have been damaged. If this does not resolve the problem, contact your
Damaged!
dealer or a nearby Roland service center.

The file was not found in user memory. Save the file once again in user memory.
File Not Found!
The file was not found in USB memory. Save the file once again in USB memory.

An unusually large amount of MIDI data was Reduce the amount of MIDI messages that are being
MIDI Buffer Full!
received, and could not be processed. transmitted.

The MIDI IN connection was broken. Check that there is no problem with the MIDI cable
MIDI Offline! connected to the Prelude’s MIDI IN, and that the
MIDI cable was not disconnected.

The Style/Song/USB Memory Player is cur- Either stop playback, or wait until playback has end-
Now Playing!
rently playing. ed.

That operation cannot be executed because Either stop recording, or wait until recording is fin-
Now Recording!
recording is in progress. ished.

The Style/Song could not be saved because Delete unneeded user data.
Memory Full!
there is insufficient user memory.

Recording could not be started. You cannot record if BACKING TYPE [USB MEMO-
Cannot Record! RY PLAYER] is on. Set BACKING TYPE to something
other than [USB MEMORY PLAYER].

Cannot Store Anymore No more Styles can be saved. Please delete unneeded user Styles.
Styles!

Cannot Store Anymore No more Songs can be saved. Please delete unneeded user Songs.
Songs!

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Effects List

Multi-Effects Parameters
The multi-effects feature 78 different kinds of effects. Some of the effects consist of two or more different effects connected in series.

FILTER (10 types) DELAY (13 types)

01 EQUALIZER P.58 43 DELAY P.71
02 SPECTRUM P.58 44 LONG DELAY P.71
03 ISOLATOR P.58 45 SERIAL DELAY P.71
04 LOW BOOST P.58 46 MODULATION DELAY P.72
05 SUPER FILTER P.59 47 3TAP PAN DELAY P.72
06 STEP FILTER P.59 48 4TAP PAN DELAY P.72
07 ENHANCER P.59 49 MULTI TAP DELAY P.73
08 AUTO WAH P.60 50 REVERSE DELAY P.73
09 HUMANIZER P.60 51 SHUFFLE DELAY P.73
10 SPEAKER SIMULATOR P.60 52 3D DELAY P.74
MODULATION (12 types) 53 TIME CTRL DELAY P.74
11 PHASER P.61 54 LONG TIME CTRL DLY P.74
12 STEP PHASER P.61 55 TAPE ECHO P.75
13 MULTI STAGE PHASER P.61 LO-FI (5 types)
14 INFINITE PHASER P.62 56 LOFI NOISE P.75
15 RING MODULATOR P.62 57 LOFI COMPRESS P.75
16 STEP RING MODULATOR P.62 58 LOFI RADIO P.76
17 TREMOLO P.62 59 TELEPHONE P.76
18 AUTO PAN P.63 60 PHONOGRAPH P.76
19 STEP PAN P.63 PITCH (3 types)
20 SLICER P.63 61 PITCH SHIFTER P.76
21 ROTARY P.64 62 2VOI PITCH SHIFTER P.77
22 VK ROTARY P.64 63 STEP PITCH SHIFTER P.77
CHORUS (12 types) REVERB (2 types)
23 CHORUS P.64 64 REVERB P.77
24 FLANGER P.65 65 GATED REVERB P.78
25 STEP FLANGER P.65 COMBINATION (12 types)
26 HEXA-CHORUS P.65 66 OVERDRIVE → CHORUS P.78
27 TREMOLO CHORUS P.66 67 OVERDRIVE → FLANGER P.78
28 SPACE-D P.66 68 OVERDRIVE → DELAY P.78
29 3D CHORUS P.66 69 DISTORTION → CHORUS P.79
30 3D FLANGER P.67 70 DISTORTION → FLANGER P.79
31 3D STEP FLANGER P.67 71 DISTORTION → DELAY P.79
32 2BAND CHORUS P.67 72 ENHANCER → CHORUS P.79
33 2BAND FLANGER P.68 73 ENHANCER → FLANGER P.79
34 2BAND STEP FLANGER P.68 74 ENHANCER → DELAY P.80
DYNAMICS (8 types) 75 CHORUS → DELAY P.80
35 OVERDRIVE P.69 76 FLANGER → DELAY P.80
36 DISTORTION P.69 77 CHORUS → FLANGER P.81
37 VS OVERDRIVE P.69 PIANO (1 type)
38 VS DISTORTION P.69 78 SYMPATHETIC RESO P.81
39 GUITAR AMP SIMULATOR P.69
40 COMPRESSOR P.70
41 LIMITER P.70
42 GATE P.70

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About ‘Note’ When Using 3D Effects

Some effect parameters (such as Rate or Delay Time) can be set in The following 3D effects utilize RSS (Roland Sound Space) technology
terms of a note value. to create a spaciousness that cannot be produced by delay, reverb,
Such parameters have a num/note switch that lets you specify whether chorus, etc.
you will set the value as a note value or as a numerical value. 52: 3D DELAY
If you want to set Rate (Delay Time) as a numerical value, set the num/ 29: 3D CHORUS
note switch to “Hz” (“msec”). If you want to set it as a note value, set 30: 3D FLANGER
the num/note switch to “NOTE.”
31: 3D STEP FLANGER
When using these effects, we recommend that you place your
speakers as follows. Also, make sure that the speakers are at a
sufficient distance from the walls on either side.
fig.33-002

NUM/NOTE switch

* If the Rate is specified as a note value, the modulation will be 30˚ 30˚
synchronized with the tempo when you play back SMF song
data.

note:
fig.MFX-note2.e_88

Sixty-fourth-note triplet Sixty-fourth note Thirty-second-note triplet

If the left and right speakers are too far apart, or if there is too much
Thirty-second note Sixteenth-note triplet Dotted thirty-second note reverberation, the full 3D effect may not appear.
Sixteenth note Eighth-note triplet Dotted sixteenth note Each of these effects has an “Output Mode” parameter. If the sound
from the OUTPUT jacks is to be heard through speakers, set this
Eighth note Quarter-note triplet Dotted eighth note parameter to “SPEAKER.” If the sound is to be heard through
Quarter note Half-note triplet Dotted quarter note 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
Half note Whole-note triplet Dotted half note effect may not appear.
Whole note Double-note triplet Dotted whole note

Double note

If you specify the delay time as a note value, slowing down the
tempo will not change the delay time beyond a certain length.
This is because there is an upper limit for the delay time; if the
delay time is specified as a note value and you slow down the
tempo until this upper limit is reached, the delay time cannot
change any further. This upper limit is the maximum value that
can be specified when setting the delay time as a numerical
value.

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01: EQUALIZER 03: ISOLATOR

This is a four-band stereo equalizer (low, mid x 2, high). This is an equalizer which cuts the volume greatly, allowing you to
fig.MFX-01 add a special effect to the sound by cutting the volume in varying
L in 4-Band EQ L out ranges.
fig.MFX-03

L in Isolator Low Boost L out

R in 4-Band EQ R out

R in Isolator Low Boost R out

Parameter Value Description
Low Freq 200, 400 Hz Frequency of the low range
Low Gain -15– +15 dB Gain of the low range Parameter Value Description
Mid1 Freq 200–8000 Hz Frequency of the middle range 1 Boost/
Mid1 Gain -15– +15 dB Gain of the middle range 1 Cut Low These boost and cut each of the High,
Middle, and Low frequency ranges.
Width of the middle range 1 Boost/
-60– +4 dB At -60 dB, the sound becomes inaudi-
Set a higher value for Q to Cut Mid
Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0 ble. 0 dB is equivalent to the input lev-
narrow the range to be affect- Boost/ el of the sound.
ed. Cut High
Mid2 Freq 200–8000 Hz Frequency of the middle range 2 Turns the Anti-Phase function on and off
Mid2 Gain -15– +15 dB Gain of the middle range 2 for the Low frequency ranges.
Anti Phase Low
OFF, ON When turned on, the counter-channel
Width of the middle range 2 Sw
of stereo sound is inverted and added
Set a higher value for Q to
Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0 to the signal.
narrow the range to be affect-
ed. Adjusts the level settings for the Low fre-
quency ranges.
High Freq 2000, 4000, 8000 Hz Frequency of the high range
Anti Phase Low Adjusting this level for certain fre-
High Gain -15– +15 dB Gain of the high range 0–127
Level quencies allows you to lend emphasis
Level 0–127 Output Level to specific parts. (This is effective only
for stereo source.)
Anti Phase Mid Settings of the Anti-Phase function for the
OFF, ON
Sw Middle frequency ranges
Anti Phase Mid The parameters are the same as for
02: SPECTRUM Level
0–127 the Low frequency ranges.
Turns Low Booster on/off.
This is a stereo spectrum. Spectrum is a type of filter which modifies Low Boost Sw OFF, ON This emphasizes the bottom to create
a heavy bass sound.
the timbre by boosting or cutting the level at specific frequencies.
fig.MFX-02
Increasing this value gives you a heavier
low end.
L in Spectrum L out Low Boost Level 0–127 * Depending on the Isolator and filter
settings this effect may be hard to dis-
tinguish.
Level 0–127 Output Level
R in Spectrum R out

Parameter Value Description

Band1 (250Hz) 04: LOW BOOST
Band2 (500Hz)
Band3 (1000Hz) Boosts the volume of the lower range, creating powerful lows.
fig.MFX-04
Band4 (1250Hz)
-15– +15 dB Gain of each frequency band
Band5 (2000Hz) L in Low Boost 2-Band EQ L out
Band6 (3150Hz)
Band7 (4000Hz)
R in Low Boost 2-Band EQ R out
Band8 (8000Hz)
Simultaneously adjusts the width of
0.5, 1.0, 2.0, 4.0,
Q the adjusted ranges for all the fre-
8.0 Parameter Value Description
quency bands.
Boost Center frequency at which the lower
Level 0–127 Output Level 50–125 Hz
Frequency range will be boosted
Amount by which the lower range will
Boost Gain 0– +12 dB
be boosted
WIDE, MID, Width of the lower range that will be
Boost Width
NARROW boosted
Low Gain -15– +15 dB Gain of the low frequency range
High Gain -15– +15 dB Gain of the high frequency range
Level 0–127 Output level

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05: SUPER FILTER 06: STEP FILTER

This is a filter with an extremely sharp slope. The cutoff frequency can This is a filter whose cutoff frequency can be modulated in steps. You
be varied cyclically. can specify the pattern by which the cutoff frequency will change.
fig.MFX-05 fig.MFX-06

L in Super Filter L out L in Step Filter L out

R in Super Filter R out R in Step Filter R out

Parameter Value Description Parameter Value Description

Filter type Step 01–16 0–127 Cutoff frequency at each step
Frequency range that will pass through 0.05–10.00 Hz,
each filter Rate Rate of modulation
note
LPF, BPF, HPF, LPF: frequencies below the cutoff
Filter Type Speed at which the cutoff frequency
NOTCH BPF: frequencies in the region of the cutoff Attack 0–127
HPF: frequencies above the cutoff changes between steps
NOTCH: frequencies other than the re- Filter type
gion of the cutoff Frequency range that will pass through
Amount of attenuation per octave each filter
-36 dB: extremely steep LPF, BPF, HPF, LPF: frequencies below the cutoff
Filter Slope -12, -24, -36 dB Filter Type
-24 dB: steep NOTCH BPF: frequencies in the region of the cutoff
-12 dB: gentle HPF: frequencies above the cutoff
NOTCH: frequencies other than the re-
Cutoff frequency of the filter gion of the cutoff
Filter
0–127 Increasing this value will raise the cutoff
Cutoff Amount of attenuation per octave
frequency.
-12 dB: gentle
Filter resonance level Filter Slope -12, -24, -36 dB
Filter -24 dB: steep
0–127 Increasing this value will emphasize the -36 dB: extremely steep
Resonance
region near the cutoff frequency.
Filter resonance level
Filter Gain 0– +12 dB Amount of boost for the filter output Filter
0–127 Increasing this value will emphasize the
Modulation Sw OFF,ON On/off switch for cyclic change Resonance
region near the cutoff frequency.
How the cutoff frequency will be modulated Filter Gain 0– +12 dB Amount of boost for the filter output
TRI: triangle wave Level 0–127 Output level
TRI, SQR, SIN, SQR: square wave
SAW1, SAW2 SIN: sine wave
SAW1: sawtooth wave (upward)
Modulation SAW2: sawtooth wave (downward)
Wave
SAW1 SAW2
07: ENHANCER

Controls the overtone structure of the high frequencies, adding sparkle

and tightness to the sound.
fig.MFX-07
0.05–10.00 Hz,
Rate Rate of modulation
note 2-Band
L in Enhancer L out
Depth 0–127 Depth of modulation Mix EQ
Speed at which the cutoff frequency will
change 2-Band
Attack 0–127 R in Enhancer R out
This is effective if Modulation Wave is EQ
SQR, SAW1, or SAW2. Mix
Level 0–127 Output level
Parameter Value Description
Sens 0–127 Sensitivity of the enhancer
Level of the overtones generat-
Mix 0–127
ed by the enhancer
Low Gain -15– +15 dB Gain of the low range
High Gain -15– +15 dB Gain of the high range
Level 0–127 Output Level

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Parameter Value Description

08: AUTO WAH
Point at which Vowel 1/2 switch
49 or less: Vowel 1 will have a longer
Cyclically controls a filter to create cyclic change in timbre. duration.
fig.MFX-08
Manual 0–100 50: Vowel 1 and 2 will be of equal du-
ration.
L in Auto Wah 2-Band EQ L out 51 or more: Vowel 2 will have a longer
duration.
Low Gain -15– +15 dB Gain of the low frequency range
R in Auto Wah 2-Band EQ R out High Gain -15– +15 dB Gain of the high frequency range
Pan L64–63R Stereo location of the output
Level 0–127 Output level
Parameter Value Description
Type of filter
LPF: The wah effect will be applied over
Filter Type LPF, BPF a wide frequency range.
BPF: The wah effect will be applied over 10: SPEAKER SIMULATOR
a narrow frequency range.
Adjusts the center frequency at which the Simulates the speaker type and mic settings used to record the speaker
Manual 0–127
effect is applied. sound.
Adjusts the amount of the wah effect that fig.MFX-10
will occur in the range of the center fre-
Peak 0–127 quency. L in Speaker L out
Set a higher value for Q to narrow the
range to be affected.
Adjusts the sensitivity with which the filter
Sens 0–127
is controlled. R in Speaker R out
Sets the direction in which the frequency
will change when the auto-wah filter is
modulated. Parameter Value Description
Polarity UP, DOWN UP: The filter will change toward a high- Speaker Type (See the table below.) Type of speaker
er frequency.
DOWN: The filter will change toward a Adjusts the location of the mic
lower frequency. that is recording the sound of the
speaker.
0.05–10.00 Hz, Mic Setting 1, 2, 3 This can be adjusted in three
Rate Frequency of modulation
note steps, with the mic becoming
Depth 0–127 Depth of modulation more distant in the order of 1,
Adjusts the degree of phase shift of the left 2, and 3.
Phase 0–180 deg and right sounds when the wah effect is Mic Level 0–127 Volume of the microphone
applied. Direct Level 0–127 Volume of the direct sound
Low Gain -15– +15 dB Gain of the low range Level 0–127 Output Level
High Gain -15– +15 dB Gain of the high range
Level 0–127 Output Level Specifications of each Speaker Type
The speaker column indicates the diameter of each speaker unit (in
inches) and the number of units.

09: HUMANIZER Micro-

Type Cabinet Speaker
phone
Adds a vowel character to the sound, making it similar to a human SMALL 1 small open-back enclosure 10 dynamic
voice. SMALL 2 small open-back enclosure 10 dynamic
fig.MFX-09
MIDDLE open back enclosure 12 x 1 dynamic
L in L out JC-120 open back enclosure 12 x 2 dynamic
Pan L BUILT-IN 1 open back enclosure 12 x 2 dynamic
Overdrive Formant 2-Band
EQ BUILT-IN 2 open back enclosure 12 x 2 condenser
Pan R
BUILT-IN 3 open back enclosure 12 x 2 condenser
R in R out
BUILT-IN 4 open back enclosure 12 x 2 condenser
BUILT-IN 5 open back enclosure 12 x 2 condenser
Parameter Value Description
BG STACK 1 sealed enclosure 12 x 2 condenser
Drive Sw OFF, ON Turns Drive on/off.
BG STACK 2 large sealed enclosure 12 x 2 condenser
Degree of distortion
Drive 0–127 MS STACK 1 large sealed enclosure 12 x 4 condenser
Also changes the volume.
MS STACK 2 large sealed enclosure 12 x 4 condenser
Vowel1 a, e, i, o, u
Selects the vowel. METAL STACK large double stack 12 x 4 condenser
Vowel2 a, e, i, o, u
2-STACK large double stack 12 x 4 condenser
0.05–10.00 Hz,
Rate Frequency at which the two vowels switch 3-STACK large triple stack 12 x 4 condenser
note
Depth 0–127 Effect depth
Determines whether the LFO for switching
Input Sync
OFF, ON the vowels is reset by the input signal (ON)
Sw
or not (OFF).
Input Sync
0–127 Volume level at which reset is applied
Threshold

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Parameter Value Description

11: PHASER
Selects whether the left and right
phase of the modulation will be
A phase-shifted sound is added to the original sound and modulated. the same or the opposite.
fig.MFX-11
INVERSE: The left and right
phase will be opposite. When
INVERSE,
Polarity using a mono source, this
2-Band SYNCHRO
L in Phaser L out spreads the sound.
EQ SYNCHRO: The left and right
Mix
phase will be the same. Select
this when inputting a stereo
Mix source.
R in Phaser 2-Band R out Resonance 0–127 Amount of feedback
EQ
Adjusts the proportion of the
Cross phaser sound that is fed back
-98– +98%
Feedback into the effect. Negative (-) set-
tings will invert the phase.
Parameter Value Description
Rate of the step-wise change in
4-STAGE, 8-STAGE, 12- Step Rate 0.10–20.00 Hz, note
Mode Number of stages in the phaser the phaser effect
STAGE
Mix 0–127 Level of the phase-shifted sound
Adjusts the basic frequency from
Manual 0–127 which the sound will be modulat- Low Gain -15– +15 dB Gain of the low range
ed. High Gain -15– +15 dB Gain of the high range
Rate 0.05–10.00 Hz, note Frequency of modulation Level 0–127 Output Level
Depth 0–127 Depth of modulation
Selects whether the left and right
phase of the modulation will be
the same or the opposite. 13: MULTI STAGE PHASER
INVERSE: The left and right
phase will be opposite. When
INVERSE,
Polarity using a mono source, this Extremely high settings of the phase difference produce a deep phaser
SYNCHRO
spreads the sound. effect.
SYNCHRO: The left and right
fig.MFX-13
phase will be the same. Select
this when inputting a stereo L in L out
source. Pan L
Resonance 0–127 Amount of feedback
Multi Stage 2-Band
Phaser Mix EQ
Adjusts the proportion of the Pan R
Cross phaser sound that is fed back R in R out
-98– +98% Resonance
Feedback into the effect. Negative (-) set-
tings will invert the phase.
Mix 0–127 Level of the phase-shifted sound Parameter Value Description
Low Gain -15– +15 dB Gain of the low range 4-STAGE, 8-STAGE,
High Gain -15– +15 dB Gain of the high range Mode 12-STAGE, 16-STAGE, Number of phaser stages
Level 0–127 Output Level 20-STAGE, 24-STAGE
Adjusts the basic frequency
Manual 0–127 from which the sound will be
modulated.
Rate 0.05–10.00 Hz, note Frequency of modulation
12: STEP PHASER Depth 0–127 Depth of modulation
Resonance 0–127 Amount of feedback
The phaser effect will be varied gradually. Mix 0–127 Level of the phase-shifted sound
fig.MFX-12
Stereo location of the output
Pan L64–63R
sound
L in 2-Band L out Low Gain -15– +15 dB Gain of the low range
Step Phaser
EQ High Gain -15– +15 dB Gain of the high range
Mix
Level 0–127 Output Level
Mix
R in Step Phaser 2-Band R out
EQ

Parameter Value Description

4-STAGE, 8-STAGE, 12-
Mode Number of stages in the phaser
STAGE
Adjusts the basic frequency from
Manual 0–127 which the sound will be modulat-
ed.
Rate 0.05–10.00 Hz, note Frequency of modulation
Depth 0–127 Depth of modulation

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14: INFINITE PHASER 16: STEP RING MODULATOR

A phaser that continues raising/lowering the frequency at which the This is a ring modulator that uses a 16-step sequence to vary the
sound is modulated. frequency at which modulation is applied.
fig.MFX-14 fig.MFX-16

L in L out L in Step Ring Mod 2-Band EQ L out

Pan L
Infinite Phaser 2-Band EQ
Pan R
R in R out R in Step Ring Mod 2-Band EQ R out

Parameter Range Explanation Parameter Range Explanation

Higher values will produce a
Mode 1, 2, 3, 4 Frequency of ring modulation at
deeper phaser effect. Step 01–16 0–127
each step
Speed at which to raise or lower
Rate at which the 16-step sequence
the frequency at which the sound Rate 0.05–10.00 Hz, note
Speed -100– +100 will cycle
is modulated
(+: upward / -: downward) Speed at which the modulation fre-
Attack 0–127
quency changes between steps
Resonance 0–127 Amount of feedback
Amount of boost/cut for the low-
Volume of the phase-shifted Low Gain -15– +15 dB
Mix 0–127 frequency range
sound
Amount of boost/cut for the high-
Pan L64–63R Panning of the output sound High Gain -15– +15 dB
frequency range
Amount of boost/cut for the low-
Low Gain -15– +15 dB Volume balance of the original
frequency range Balance D100:0W–D0:100W
sound (D) and effect sound (W)
Amount of boost/cut for the high-
High Gain -15– +15 dB Level 0–127 Output volume
frequency range
Level 0–127 Output volume

17: TREMOLO
15: RING MODULATOR
Cyclically modulates the volume to add tremolo effect to the sound.
fig.MFX-17a
This is an effect that applies amplitude modulation (AM) to the input
signal, producing bell-like sounds. You can also change the L in Tremolo 2-Band EQ L out
modulation frequency in response to changes in the volume of the
sound sent into the effect. R in Tremolo 2-Band EQ R out
fig.MFX-15

L in Ring Mod 2-Band EQ L out

Parameter Value Description
Modulation Wave
TRI: triangle wave
TRI, SQR, SIN, SAW1,
R in R out SQR: square wave
Ring Mod 2-Band EQ SAW2
SIN: sine wave
SAW1/2: sawtooth wave
Mod Wave
Parameter Value Description SAW1 SAW2
Adjusts the frequency at which modulation is
Frequency 0–127
applied.
Adjusts the amount of frequency modulation
Sens 0–127
applied.
Determines whether the frequency modula- Rate 0.05–10.00 Hz, note Frequency of the change
Polarity UP, DOWN tion moves towards higher frequencies (UP) Depth 0–127 Depth to which the effect is applied
or lower frequencies (DOWN).
Low Gain -15– +15 dB Gain of the low range
Low Gain -15– +15 dB Gain of the low frequency range
High Gain -15– +15 dB Gain of the high range
High Gain -15– +15 dB Gain of the high frequency range
Level 0–127 Output Level
D100:0W– Volume balance between the direct sound
Balance
D0:100W (D) and the effect sound (W)
Level 0–127 Output level

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18: AUTO PAN 20: SLICER

Cyclically modulates the stereo location of the sound. By applying successive cuts to the sound, this effect turns a
fig.MFX-18a conventional sound into a sound that appears to be played as a
L in Auto Pan 2-Band EQ L out backing phrase. This is especially effective when applied to sustain-
type sounds.
fig.MFX-20
R in Auto Pan 2-Band EQ R out
L in Slicer L out

Parameter Value Description

Modulation Wave
TRI: triangle wave
R in Slicer R out
TRI, SQR, SIN, SAW1,
SQR: square wave
SAW2
SIN: sine wave
SAW1/2: sawtooth wave Parameter Value Description
Step 01–16 L64–63R Level at each step
Mod Wave SAW1 SAW2 0.05–10.00 Rate at which the 16-step sequence will cy-
R R Rate
Hz, note cle
Speed at which the level changes between
Attack 0–127
steps
Specifies whether an input note will cause
L L Input Sync Sw OFF, ON the sequence to resume from the first step of
the sequence (ON) or not (OFF)
Rate 0.05–10.00 Hz, note Frequency of the change Input Sync Volume at which an input note will be detect-
0–127
Depth 0–127 Depth to which the effect is applied Threshold ed
Low Gain -15– +15 dB Gain of the low range Sets the manner in which the volume chang-
High Gain -15– +15 dB Gain of the high range es as one step progresses to the next.
LEGATO: The change in volume from one
Level 0–127 Output Level step’s level to the next remains unaltered.
If the level of a following step is the same
LEGATO, as the one preceding it, there is no
Mode
SLASH change in volume.
SLASH: The level is momentarily set to 0
19: STEP PAN before progressing to the level of the next
step. This change in volume occurs even
if the level of the following step is the
This uses a 16-step sequence to vary the panning of the sound. same as the preceding step.
fig.MFX-19
Timing of volume changes in levels for even-
L in L out numbered steps (step 2, step 4, step 6...).
Step Pan Shuffle 0–127
The higher the value, the later the beat
progresses.
Level 0–127 Output level
R in Step Pan R out

Parameter Range Explanation

Step 01–16 L64–63R Pan at each step
Rate at which the 16-step sequence
Rate 0.05–10.00 Hz, note
will cycle
Speed at which the pan changes
Attack 0–127
between steps
Specifies whether an input note
will cause the sequence to resume
Input Sync Sw OFF, ON
from the first step of the sequence
(ON) or not (OFF)
Input Sync Volume at which an input note will
0–127
Threshold be detected
Level 0–127 Output volume

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Parameter Value Description

21: ROTARY
Adjusts the rate at which the
woofer rotation speeds up when
The Rotary effect simulates the sound of the rotary speakers often used Woofer Trans Up 0–127
the rotation is switched from
with the electric organs of the past. Since the movement of the high Slow to Fast.
range and low range rotors can be set independently, the unique type Adjusts the rate at which the
of modulation characteristic of these speakers can be simulated quite Woofer Trans woofer rotation speeds up when
0–127
Down the rotation is switched from Fast
closely. This effect is most suitable for electric organ Patches. to Slow.
fig.MFX-21
Woofer Level 0–127 Volume of the woofer
L in L out Tweeter Slow
0.05–10.00 Hz
Speed
Rotary Tweeter Fast
0.05–10.00 Hz Settings of the tweeter
Speed
R in R out The parameters are the same
Tweeter Trans Up 0–127
as for the woofer.
Tweeter Trans
0–127
Parameter Value Description Down
Simultaneously switch the rotational Tweeter Level 0–127
speed of the low frequency rotor Sets the rotary speaker stereo im-
and high frequency rotor. Spread 0–10 age. The higher the value set, the
Speed SLOW, FAST SLOW: Slows down the rotation wider the sound is spread out.
to the Slow Rate. Low Gain -15– +15 dB Gain of the low range
FAST: Speeds up the rotation to
High Gain -15– +15 dB Gain of the high range
the Fast Rate.
Level 0–127 Output Level
Woofer Slow Slow speed (SLOW) of the low fre-
0.05–10.00 Hz
Speed quency rotor
Woofer Fast Fast speed (FAST) of the low fre-
0.05–10.00 Hz
Speed quency rotor
Adjusts the time it takes the low fre- 23: CHORUS
quency rotor to reach the newly se-
Woofer lected speed when switching from This is a stereo chorus. A filter is provided so that you can adjust the
0–15
Acceleration fast to slow (or slow to fast) speed.
Lower values will require longer timbre of the chorus sound.
times. fig.MFX-23

Woofer Level 0–127 Volume of the low frequency rotor Balance D

L in 2-Band L out
Tweeter Slow EQ
0.05–10.00 Hz
Speed
Chorus Balance W
Tweeter Fast Settings of the high frequency rotor
0.05–10.00 Hz
Speed The parameters are the same as
Chorus Balance W
Tweeter for the low frequency rotor
0–15
Acceleration R in 2-Band R out
Tweeter Level 0–127 Balance D EQ
Separation 0–127 Spatial dispersion of the sound
Level 0–127 Output Level Parameter Value Description
Type of filter
OFF: no filter is used
LPF: cuts the frequency range
Filter Type OFF, LPF, HPF
above the Cutoff Freq
22: VK ROTARY HPF: cuts the frequency range
below the Cutoff Freq
Cutoff Freq 200–8000 Hz Basic frequency of the filter
This type provides modified response for the rotary speaker, with the
Adjusts the delay time from the di-
low end boosted further. Pre Delay 0.0–100.0 ms rect sound until the chorus sound
This effect features the same specifications as the VK-7’s built-in rotary is heard.
speaker. Rate 0.05–10.00 Hz, note Frequency of modulation
fig.MFX-22 Depth 0–127 Depth of modulation
L in Phase 0–180 deg Spatial spread of the sound
2-Band EQ L out
Low Gain -15– +15 dB Gain of the low range
Rotary High Gain -15– +15 dB Gain of the high range
Volume balance between the direct
R in Balance D100:0W–D0:100W
2-Band EQ R out sound (D) and the chorus sound (W)
Level 0–127 Output Level
Parameter Value Description
Rotational speed of the rotating
Speed SLOW, FAST
speaker
Switches the rotation of the rota-
ry speaker.
When this is turned on, the ro-
Brake OFF, ON
tation will gradually stop.
When it is turned off, the rota-
tion will gradually resume.
Woofer Slow Low-speed rotation speed of the
0.05–10.00 Hz
Speed woofer
Woofer Fast High-speed rotation speed of the
0.05–10.00 Hz
Speed woofer

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Parameter Value Description

24: FLANGER
Adjusts the delay time from when
Pre Delay 0.0–100.0 ms the direct sound begins until the
This is a stereo flanger. (The LFO has the same phase for left and flanger sound is heard.
right.) It produces a metallic resonance that rises and falls like a jet Rate 0.05–10.00 Hz, note Frequency of modulation
airplane taking off or landing. A filter is provided so that you can Depth 0–127 Depth of modulation
adjust the timbre of the flanged sound. Phase 0–180 deg Spatial spread of the sound
fig.MFX-24
Adjusts the proportion of the
Balance D flanger sound that is fed back into
L in 2-Band L out Feedback -98– +98%
the effect. Negative (-) settings will
EQ invert the phase.
Flanger Balance W Step Rate 0.10–20.00 Hz, note Rate (period) of pitch change
Low Gain -15– +15 dB Gain of the low range
Feedback
High Gain -15– +15 dB Gain of the high range
Feedback
Volume balance between the di-
Balance D100:0W–D0:100W rect sound (D) and the flanger
Flanger Balance W
sound (W)
R in 2-Band R out Level 0–127 Output Level
Balance D EQ

Parameter Value Description

Type of filter 26: HEXA-CHORUS
OFF: no filter is used
LPF: cuts the frequency range
Filter Type OFF, LPF, HPF
above the Cutoff Freq Uses a six-phase chorus (six layers of chorused sound) to give richness
HPF: cuts the frequency range and spatial spread to the sound.
below the Cutoff Freq
fig.MFX-26
Cutoff Freq 200–8000 Hz Basic frequency of the filter
Adjusts the delay time from when
L in L out
Balance D
Pre Delay 0.0–100.0 ms the direct sound begins until the Balance W
flanger sound is heard.
Hexa Chorus
Rate 0.05–10.00 Hz, note Frequency of modulation
Balance W
Depth 0–127 Depth of modulation
Phase 0–180 deg Spatial spread of the sound R in R out
Balance D
Adjusts the proportion of the
flanger sound that is fed back into
Feedback -98– +98%
the effect. Negative (-) settings will Parameter Value Description
invert the phase.
Adjusts the delay time from the di-
Low Gain -15– +15 dB Gain of the low range Pre Delay 0.0–100.0 ms rect sound until the chorus sound is
High Gain -15– +15 dB Gain of the high range heard.
Volume balance between the direct Rate 0.05–10.00 Hz, note Frequency of modulation
Balance D100:0W–D0:100W
sound (D) and the flanger sound (W) Depth 0–127 Depth of modulation
Level 0–127 Output Level Pre Delay Adjusts the differences in Pre Delay
0–20
Deviation between each chorus sound.
Depth Adjusts the difference in modulation
-20– +20
Deviation depth between each chorus sound.
Adjusts the difference in stereo loca-
25: STEP FLANGER tion between each chorus sound.
0: All chorus sounds will be in the
This is a flanger in which the flanger pitch changes in steps. The speed Pan Deviation 0–20 center.
20: Each chorus sound will be
at which the pitch changes can also be specified in terms of a note- spaced at 60 degree intervals
value of a specified tempo. relative to the center.
fig.MFX-25 Volume balance between the direct
Balance D100:0W–D0:100W
Balance D sound (D) and the chorus sound (W)
L in 2-Band L out Level 0–127 Output Level
EQ
Step Flanger Balance W

Feedback
Feedback

Step Flanger Balance W

R in 2-Band R out
Balance D EQ

Parameter Value Description

Type of filter
OFF: no filter is used
LPF: cuts the frequency range
Filter Type OFF, LPF, HPF
above the Cutoff Freq
HPF: cuts the frequency range
below the Cutoff Freq
Cutoff Freq 200–8000 Hz Basic frequency of the filter

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27: TREMOLO CHORUS 29: 3D CHORUS

This is a chorus effect with added Tremolo (cyclic modulation of This applies a 3D effect to the chorus sound. The chorus sound will be
volume). positioned 90 degrees left and 90 degrees right.
fig.MFX-27 fig.MFX-29

L in L out L 2-Band
Balance D L out
EQ
Balance W
Tremolo Chorus 3D Chorus
Balance W 2-Band
R R out
EQ
R in R out
Balance D
Parameter Value Description
Parameter Value Description Type of filter
Adjusts the delay time from the di- OFF: no filter is used
Pre Delay 0.0–100.0 ms rect sound until the chorus sound LPF: cuts the frequency range
Filter Type OFF, LPF, HPF
is heard. above the Cutoff Freq
HPF: cuts the frequency range
Modulation frequency of the cho- below the Cutoff Freq
Chorus Rate 0.05–10.00 Hz, note
rus effect
Cutoff Freq 200–8000 Hz Basic frequency of the filter
Modulation depth of the chorus ef-
Chorus Depth 0–127 Adjusts the delay time from the di-
fect
Pre Delay 0.0–100.0 ms rect sound until the chorus sound is
Modulation frequency of the trem- heard.
Tremolo Rate 0.05–10.00 Hz, note
olo effect
Rate 0.05–10.00 Hz, note Frequency of modulation
Tremolo
0–127 Spread of the tremolo effect Modulation depth of the chorus ef-
Separation Depth 0–127
fect
Tremolo Phase 0–180 deg Spread of the tremolo effect
Phase 0–180 deg Spatial spread of the sound
Volume balance between the di-
Balance D100:0W–D0:100W rect sound (D) and the tremolo Adjusts the method that will be
chorus sound (W) used to hear the sound that is out-
put to the OUTPUT jacks. The opti-
Level 0–127 Output Level Output Mode SPEAKER, PHONES mal 3D effect will be achieved if
you select SPEAKER when using
speakers, or PHONES when using
headphones.
Low Gain -15– +15 dB Gain of the low range
28: SPACE-D High Gain -15– +15 dB Gain of the high range
Volume balance between the di-
This is a multiple chorus that applies two-phase modulation in stereo. It Balance D100:0W–D0:100W rect sound (D) and the chorus
gives no impression of modulation, but produces a transparent chorus sound (W)
effect. Level 0–127 Output Level
fig.MFX-28

Balance D
L in 2-Band L out
EQ
Space D Balance W

Space D Balance W

R in 2-Band R out
Balance D EQ

Parameter Value Description

Adjusts the delay time from the
Pre Delay 0.0–100.0 ms direct sound until the chorus
sound is heard.
Rate 0.05–10.00 Hz, note Frequency of modulation
Depth 0–127 Depth of modulation
Phase 0–180 deg Spatial spread of the sound
Low Gain -15– +15 dB Gain of the low range
High Gain -15– +15 dB Gain of the high range
Volume balance between the
Balance D100:0W–D0:100W direct sound (D) and the chorus
sound (W)
Level 0–127 Output Level

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Parameter Value Description

30: 3D FLANGER
Adjusts the proportion of the
flanger sound that is fed back into
This applies a 3D effect to the flanger sound. The flanger sound will Feedback -98– +98%
the effect. Negative (-) settings will
be positioned 90 degrees left and 90 degrees right. invert the phase.
fig.MFX-30 Step Rate 0.10–20.00 Hz, note Rate (period) of pitch change
2-Band Adjusts the method that will be
L L out used to hear the sound that is out-
EQ
put to the OUTPUT jacks. The opti-
3D Flanger Output Mode SPEAKER, PHONES mal 3D effect will be achieved if
you select SPEAKER when using
R 2-Band speakers, or PHONES when using
R out
EQ headphones.
Low Gain -15– +15 dB Gain of the low range
Parameter Value Description High Gain -15– +15 dB Gain of the high range
Type of filter Volume balance between the di-
OFF: no filter is used Balance D100:0W–D0:100W rect sound (D) and the flanger
LPF: cuts the frequency range sound (W)
Filter Type OFF, LPF, HPF
above the Cutoff Freq Level 0–127 Output Level
HPF: cuts the frequency range
below the Cutoff Freq
Cutoff Freq 200–8000 Hz Basic frequency of the filter
Adjusts the delay time from when 32: 2BAND CHORUS
Pre Delay 0.0–100.0 ms the direct sound begins until the
flanger sound is heard.
Rate 0.05–10.00 Hz, note Frequency of modulation A chorus effect that lets you apply an effect independently to the low-
Depth 0–127 Depth of modulation frequency and high-frequency ranges.
fig.MFX-32
Phase 0–180 deg Spatial spread of the sound
Adjusts the proportion of the L in L out
flanger sound that is fed back into High Band Chorus
Feedback -98– +98%
the effect. Negative (-) settings will
invert the phase. Split
Adjusts the method that will be
Low Band Chorus
used to hear the sound that is out-
put to the OUTPUT jacks. The opti- High Band Chorus
Output Mode SPEAKER, PHONES mal 3D effect will be achieved if Split
you select SPEAKER when using Low Band Chorus
speakers, or PHONES when using
R in R out
headphones.
Low Gain -15– +15 dB Gain of the low range
High Gain -15– +15 dB Gain of the high range Parameter Range Explanation
Volume balance between the di- Frequency at which the low and
Split Freq 200–8000 Hz
Balance D100:0W–D0:100W rect sound (D) and the flanger high ranges will be divided
sound (W) Delay time from when the origi-
Level 0–127 Output Level Low Pre Delay 0.0–100.0 ms nal sound is heard to when the
low-range chorus sound is heard
Rate at which the low-range cho-
Low Rate 0.05–10.00 Hz, note
rus sound is modulated
Modulation depth for the low-
31: 3D STEP FLANGER Low Depth 0–127
range chorus sound
Spaciousness of the low-range
Low Phase 0–180 deg
This applies a 3D effect to the step flanger sound. The flanger sound chorus sound
will be positioned 90 degrees left and 90 degrees right. Delay time from when the origi-
nal sound is heard to when the
fig.MFX-31 High Pre Delay 0.0–100.0 ms
high-range chorus sound is
2-Band heard
L L out
EQ Rate at which the low-range cho-
High Rate 0.05–10.00 Hz, note
rus sound is modulated
3D Step Flanger
Modulation depth for the high-
High Depth 0–127
2-Band range chorus sound
R R out
EQ Spaciousness of the high-range
High Phase 0–180 deg
chorus sound
Volume balance of the original
Parameter Value Description Balance D100:0W–D0:100W
sound (D) and chorus sound (W)
Type of filter Level 0–127 Output volume
OFF: no filter is used
LPF: cuts the frequency range
Filter Type OFF, LPF, HPF
above the Cutoff Freq
HPF: cuts the frequency range
below the Cutoff Freq
Cutoff Freq 200–8000 Hz Basic frequency of the filter
Adjusts the delay time from when
Pre Delay 0.0–100.0 ms the direct sound begins until the
flanger sound is heard.
Rate 0.05–10.00 Hz, note Frequency of modulation
Depth 0–127 Depth of modulation
Phase 0–180 deg Spatial spread of the sound

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33: 2BAND FLANGER 34: 2BAND STEP FLANGER

A flanger that lets you apply an effect independently to the low- A step flanger that lets you apply an effect independently to the low-
frequency and high-frequency ranges. frequency and high-frequency ranges.
fig.MFX-33 fig.MFX-34

L in L out L in L out
High Band Flanger High Band Step Flanger
Split High Band Feedback Split High Band Feedback
Low Band Flanger Low Band Step Flanger

Low Band Feedback Low Band Feedback

High Band Feedback High Band Feedback

High Band Flanger High Band Step Flanger

Split Low Band Feedback Split Low Band Feedback

Low Band Flanger Low Band Step Flanger

R in R out R in R out

Parameter Range Explanation Parameter Range Explanation

Frequency at which the low and Frequency at which the low and
Split Freq 200–8000 Hz Split Freq 200–8000 Hz
high ranges will be divided high ranges will be divided
Delay time from when the origi- Delay time from when the origi-
Low Pre Delay 0.0–100.0 ms nal sound is heard to when the Low Pre Delay 0.0–100.0 ms nal sound is heard to when the
low-range flanger sound is heard low-range flanger sound is heard
Rate at which the low-range Rate at which the low-range
Low Rate 0.05–10.00 Hz, note Low Rate 0.05–10.00 Hz, note
flanger sound is modulated flanger sound is modulated
Modulation depth for the low- Modulation depth for the low-
Low Depth 0–127 Low Depth 0–127
range flanger sound range flanger sound
Spaciousness of the low-range Spaciousness of the low-range
Low Phase 0–180 deg Low Phase 0–180 deg
flanger sound flanger sound
Proportion of the low-range Proportion of the low-range
Low flanger sound that is to be re- Low flanger sound that is to be re-
-98– +98% -98– +98%
Feedback turned to the input (negative val- Feedback turned to the input (negative val-
ues invert the phase) ues invert the phase)
Delay time from when the origi- Low Step Rate at which the steps will cycle
0.10–20.00 Hz, note
nal sound is heard to when the Rate for the low-range flanger sound
High Pre Delay 0.0–100.0 ms
high-range flanger sound is Delay time from when the origi-
heard nal sound is heard to when the
High Pre Delay 0.0–100.0 ms
Rate at which the high-range high-range flanger sound is
High Rate 0.05–10.00 Hz, note
flanger sound is modulated heard
Modulation depth for the high- Rate at which the high-range
High Depth 0–127 High Rate 0.05–10.00 Hz, note
range flanger sound flanger sound is modulated
Spaciousness of the high-range Modulation depth for the high-
High Phase 0–180 deg High Depth 0–127
flanger sound range flanger sound
Proportion of the high-range Spaciousness of the high-range
High Phase 0–180 deg
High flanger sound that is to be re- flanger sound
-98– +98%
Feedback turned to the input (negative val- Proportion of the high-range
ues invert the phase) High flanger sound that is to be re-
-98– +98%
Volume balance of the original Feedback turned to the input (negative val-
Balance D100:0W–D0:100W
sound (D) and flanger sound (W) ues invert the phase)
Level 0–127 Output volume High Step Rate at which the steps will cycle
0.10–20.00 Hz, note
Rate for the high-range flanger sound
Volume balance of the original
Balance D100:0W–D0:100W
sound (D) and flanger sound (W)
Level 0–127 Output volume

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35: OVERDRIVE 38: VS DISTORTION

Creates a soft distortion similar to that produced by vacuum tube This is a distortion effect that provides heavy distortion. The
amplifiers. parameters are the same as for “37: VS OVERDRIVE.”
fig.MFX-35 fig.MFX-38

L in L out L in L out
Pan L Amp 2-Band Pan L
Over Amp 2-Band Distortion
drive Simulator EQ Simulator EQ
Pan R Pan R
R in R out R in R out

Parameter Value Description

Degree of distortion
Drive 0–127
Also changes the volume. 39: GUITAR AMP SIMULATOR
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp This is an effect that simulates the sound of a guitar amplifier.
SMALL, BUILT-IN,
Amp Type 2-STACK: large double stack fig.MFX-39
2-STACK, 3-STACK
amp L in L out
3-STACK: large triple stack Pan L
amp Pre Amp Speaker
Low Gain -15– +15 dB Gain of the low range Pan R
High Gain -15– +15 dB Gain of the high range R in R out
Stereo location of the output
Pan L64–63R
sound Parameter Value Description
Level 0–127 Output Level Pre Amp Sw OFF, ON Turns the amp switch on/off.
JC-120,
CLEAN TWIN, MATCH
DRIVE,
BG LEAD, MS1959I,
36: DISTORTION MS1959II, MS1959I+II,
Pre Amp Type Type of guitar amp
SLDN LEAD,
METAL5150,
Produces a more intense distortion than Overdrive. The parameters METAL LEAD, OD-1, OD-
are the same as for “35: OVERDRIVE.” 2 TURBO,
DISTORTION, FUZZ
fig.MFX-36
Pre Amp Volume and amount of distortion
L in L out 0–127
Volume of the amp
Amp 2-Band Pan L Pre Amp
Distortion 0–127 Volume of the entire pre-amp
Simulator EQ Master
Pan R
Pre Amp Gain LOW, MIDDLE, HIGH Amount of pre-amp distortion
R in R out
Pre Amp Bass Tone of the bass/mid/treble fre-
Pre Amp quency range
Middle 0–127 * Middle cannot be set if “Match
Drive” is selected as the Pre
37: VS OVERDRIVE Pre Amp Treble Amp Type.
Pre Amp Tone for the ultra-high frequency
0–127
This is an overdrive that provides heavy distortion. Presence range
fig.MFX-37 Turning this “On” produces a
sharper and brighter sound.
L in L out Pre Amp Bright OFF, ON * This parameter applies to the
Amp 2-Band Pan L
Overdrive “JC-120,” “Clean Twin,” and
Simulator EQ “BG Lead” Pre Amp Types.
Pan R
Determines whether the signal
R in R out Speaker Sw OFF, ON passes through the speaker (ON),
or not (OFF).
Parameter Value Description Speaker Type (See the table right.) Type of speaker
Degree of distortion Adjusts the location of the mic that’s
Drive 0–127
Also changes the volume. capturing the sound of the speaker.
Tone 0–127 Sound quality of the Overdrive effect This can be adjusted in three
Mic Setting 1, 2, 3
steps, from 1 to 3, with the mic
Amp Sw OFF, ON Turns the Amp Simulator on/off. becoming more distant as the
Type of guitar amp value increases.
SMALL: small amp Mic Level 0–127 Volume of the microphone
SMALL, BUILT-IN, 2-
Amp Type BUILT-IN: single-unit type amp
STACK, 3-STACK Direct Level 0–127 Volume of the direct sound
2-STACK: large double stack amp
3-STACK: large triple stack amp Pan L64–63R Stereo location of the output
Low Gain -15– +15 dB Gain of the low range Level 0–127 Output level
High Gain -15– +15 dB Gain of the high range
Pan L64–63R Stereo location of the output sound
Level 0–127 Output Level

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Specifications for each Speaker Type

41: LIMITER
The speaker column indicates the diameter of each speaker unit (in
inches) and the number of units. Compresses signals that exceed a specified volume level, preventing
distortion from occurring.
Speak- Micro- fig.MFX-41
Type Cabinet
er phone L in Limiter 2-Band EQ L out
SMALL 1 small open-back enclosure 10 dynamic
SMALL 2 small open-back enclosure 10 dynamic
MIDDLE open back enclosure 12 x 1 dynamic
R in Limiter 2-Band EQ R out
JC-120 open back enclosure 12 x 2 dynamic
BUILT-IN 1 open back enclosure 12 x 2 dynamic
BUILT-IN 2 open back enclosure 12 x 2 condenser Parameter Value Description
BUILT-IN 3 open back enclosure 12 x 2 condenser Adjusts the time after the signal volume falls
Release 0–127 below the Threshold Level until compression
BUILT-IN 4 open back enclosure 12 x 2 condenser is no longer applied.
BUILT-IN 5 open back enclosure 12 x 2 condenser Adjusts the volume at which compression be-
Threshold 0–127
BG STACK 1 sealed enclosure 12 x 2 condenser gins
BG STACK 2 large sealed enclosure 12 x 2 condenser 1.5:1, 2:1,
MS STACK 1 large sealed enclosure 12 x 4 condenser Ratio 4:1, Compression ratio
100:1
MS STACK 2 large sealed enclosure 12 x 4 condenser
Post Gain 0– +18 dB Adjusts the output gain.
METAL STACK large double stack 12 x 4 condenser
Low Gain -15– +15 dB Gain of the low frequency range
2-STACK large double stack 12 x 4 condenser
High Gain -15– +15 dB Gain of the high frequency range
3-STACK large triple stack 12 x 4 condenser
Level 0–127 Output level

40: COMPRESSOR
42: GATE
Flattens out high levels and boosts low levels, smoothing out
fluctuations in volume. Cuts the reverb’s delay according to the volume of the sound sent into
fig.MFX-40 the effect. Use this when you want to create an artificial-sounding
L in Compressor 2-Band EQ L out decrease in the reverb’s decay.
fig.MFX-42

L in Gate L out
R in Compressor 2-Band EQ R out

Parameter Value Description R in Gate R out

Attack 0–127 Sets the speed at which compression starts
Parameter Value Description
Adjusts the volume at which compression be-
Threshold 0–127 Threshold 0–127 Volume level at which the gate begins to close
gins
Post Gain 0– +18 dB Adjusts the output gain. Type of gate
GATE: The gate will close when the vol-
Low Gain -15– +15 dB Gain of the low frequency range
ume of the original sound decreases, cut-
High Gain -15– +15 dB Gain of the high frequency range GATE,
Mode ting the original sound.
DUCK
Level 0–127 Output level DUCK (Ducking): The gate will close when
the volume of the original sound increas-
es, cutting the original sound.
Adjusts the time it takes for the gate to fully
Attack 0–127
open after being triggered.
Adjusts the time it takes for the gate to start
Hold 0–127 closing after the source sound falls beneath
the Threshold.
Adjusts the time it takes the gate to fully close
Release 0–127
after the hold time.
D100:0W– Volume balance between the direct sound
Balance
D0:100W (D) and the effect sound (W)
Level 0–127 Output level

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Parameter Range Explanation

43: DELAY
Proportion of the delay sound
Feedback -98– +98% that is to be returned to the input
This is a stereo delay. (negative values invert the phase)
When Feedback Mode is NORMAL: Frequency at which the high-fre-
fig.MFX-43a 200–8000 Hz, quency content of the delayed
HF Damp
Balance D BYPASS sound will be cut (BYPASS: no
L in 2-Band cut)
L out
EQ Pan L64–63R Panning of the delay sound
Delay Balance W Amount of boost/cut for the high-
Low Gain -15– +15 dB
frequency range
Feedback Amount of boost/cut for the high-
Feedback High Gain -15– +15 dB
frequency range
Volume balance of the original
Delay Balance W Balance D100:0W–D0:100W
sound (D) and delay sound (W)
2-Band Level 0–127 Output volume
R in R out
Balance D EQ

When Feedback Mode is CROSS:

fig.MFX-43b
45: SERIAL DELAY
Balance D
L in 2-Band L out This delay connects two delay units in series. Feedback can be
EQ applied independently to each delay unit, allowing you to produce
Delay Balance W complex delay sounds.
fig.MFX-45

Feedback
L in L out
Feedback
Pan L
Delay Balance W
2-Band Delay 1 Delay 2
R in R out
Balance D EQ Pan R
Feedback 1 Feedback 2
Parameter Value Description R in R out
Delay Left 0–1300 ms, Adjusts the time until the delay sound is
Delay Right note heard. Parameter Range Explanation
Phase Left NORMAL, Delay time from when sound is
Phase of the delay sound Delay1 Time 0–1300 ms, note input to delay 1 until the delay
Phase Right INVERSE
sound is heard
Feedback NORMAL, Selects the way in which delay sound is fed
Proportion of the delay sound
Mode CROSS back into the effect. (See the figures above.)
Delay1 that is to be returned to the input
Adjusts the amount of the delay sound that’s -98– +98%
Feedback of delay 1 (negative values invert
Feedback -98– +98% fed back into the effect. Negative the phase)
(-) settings invert the phase.
Frequency at which the high-fre-
Adjusts the frequency above which sound fed 200–8000 Hz, quency content of the delayed
200–8000 Hz, back to the effect is filtered out. If you don’t Delay1 HF Damp
HF Damp BYPASS sound of delay 1 will be cut (BY-
BYPASS want to filter out any high frequencies, set this PASS: no cut)
parameter to BYPASS.
Delay time from when sound is
Low Gain -15– +15 dB Gain of the low frequency range Delay2 Time 0–1300 ms, note input to delay 2 until the delay
High Gain -15– +15 dB Gain of the high frequency range sound is heard
D100:0W– Volume balance between the direct sound Proportion of the delay sound
Balance Delay2 that is to be returned to the input
D0:100W (D) and the delay sound (W) -98– +98%
Feedback of delay 2 (negative values invert
Level 0–127 Output level
the phase)
Frequency at which the high-fre-
200–8000 Hz, quency content of the delayed
Delay2 HF Damp
BYPASS sound of delay 2 will be cut (BY-
44: LONG DELAY PASS: no cut)
Pan L64–63R Panning of the delay sound
A delay that provides a long delay time. Amount of boost/cut for the low-
Low Gain -15– +15 dB
fig.MFX-44
frequency range
Amount of boost/cut for the high-
2-Band High Gain -15– +15 dB
L in L out frequency range
EQ
Volume balance of the original
Pan L Balance D100:0W–D0:100W
sound (D) and delay sound (W)
Long Delay Level 0–127 Output volume
Pan R
Feedback
R in 2-Band R out
EQ

Parameter Range Explanation

Delay time from when the origi-
Delay Time 0–2600 ms, note nal sound is heard to when the
delay sound is heard
Phase of the delay (NORMAL:
Phase NORMAL, INVERSE
non-inverted, INVERT: inverted)

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46: MODULATION DELAY 47: 3TAP PAN DELAY

Adds modulation to the delayed sound. Produces three delay sounds; center, left and right.
When Feedback Mode is NORMAL: fig.MFX-47

fig.MFX-46a Balance D
Balance D 2-Band
2-Band L in EQ L out
L in L out
EQ Left Tap Balance W
Delay Modulation Balance W
Triple Tap Delay Center Tap
Feedback
Feedback
Feedback Right Tap Balance W
Delay Modulation Balance W R in 2-Band R out
Balance D EQ
R in 2-Band R out
Balance D EQ
Parameter Value Description
When Feedback Mode is CROSS: Delay Left/ 0–2600 ms, Adjusts the time until the delay sound is
fig.MFX-46b Right/Center note heard.
Balance D Adjusts the amount of the delay sound
2-Band Center
L in L out -98– +98% that’s fed back into the effect. Negative (-)
EQ Feedback
settings invert the phase.
Delay Modulation Balance W Adjusts the frequency above which sound
200–8000 Hz, fed back to the effect is filtered out. If you
HF Damp
Feedback BYPASS do not want to filter out any high frequen-
Feedback cies, set this parameter to BYPASS.
Left/Right/
0–127 Volume of each delay
Delay Modulation Balance W Center Level
Low Gain -15– +15 dB Gain of the low frequency range
R in 2-Band
R out High Gain -15– +15 dB Gain of the high frequency range
Balance D EQ
D100:0W– Volume balance between the direct sound
Balance
D0:100W (D) and the delay sound (W)
Parameter Value Description Level 0–127 Output level
Delay Left 0–1300 ms, Adjusts the time until the delay sound is
Delay Right note heard.
Feedback NORMAL, Selects the way in which delay sound is fed
48: 4TAP PAN DELAY
Mode CROSS back into the effect (See the figures above.)
Adjusts the amount of the delay sound This effect has four delays.
Feedback -98– +98% that’s fed back into the effect. Negative (-) fig.MFX-48a
settings invert the phase. Balance D
Adjusts the frequency above which sound L in L out
200–8000 Hz, fed back to the effect is filtered out. If you
HF Damp Delay 1
BYPASS don’t want to filter out any high frequen- Feedback Balance W
cies, set this parameter to BYPASS. Delay 2
0.05–10.00 Hz,
Rate Frequency of modulation Quadruple Tap Delay
note
Depth 0–127 Depth of modulation Delay 3
Phase 0-180 deg Spatial spread of the sound Balance W
Delay 4
Low Gain -15– +15 dB Gain of the low frequency range
R in R out
High Gain -15– +15 dB Gain of the high frequency range Balance D
D100:0W– Volume balance between the direct sound fig.MFX-48b
Balance
D0:100W (D) and the delay sound (W) Stereo location of each delay
2 3
Level 0–127 Output level
1 4

L R

Parameter Value Description

0–2600 ms, Adjusts the time until the delay sound is
Delay 1–4 Time
note heard.
Adjusts the amount of the delay sound
Delay 1
-98– +98% that’s fed back into the effect. Negative (-)
Feedback
settings invert the phase.
Adjusts the frequency above which sound
200–8000 Hz, fed back to the effect is filtered out. If you
HF Damp
BYPASS do not want to filter out any high frequen-
cies, set this parameter to BYPASS.
Delay 1–4 Level 0–127 Volume of each delay
Low Gain -15– +15 dB Gain of the low frequency range
High Gain -15– +15 dB Gain of the high frequency range
D100:0W– Volume balance between the direct sound
Balance
D0:100W (D) and the delay sound (W)
Level 0–127 Output level

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Parameter Range Explanation

49: MULTI TAP DELAY
Delay time from when sound is
Delay 1 – 3 Time 0–1300 ms, note input into the tap delay until the
This effect provides four delays. Each of the Delay Time parameters delay sound is heard
can be set to a note length based on the selected tempo. You can also Proportion of the delay sound
set the panning and level of each delay sound. that is to be returned to the input
Delay 3 Feedback -98– +98%
fig.MFX-49 of the tap delay (negative values
invert the phase)
Balance D
2-Band Frequency at which the low-fre-
L in L out
EQ quency content of the tap delay
Feed Delay 1 Delay HF Damp 200–8000 Hz, BYPASS
sound will be cut (BYPASS: no
back
Delay 3 Balance W cut)
Delay 1 Pan’,
Multi Tap Delay L64–63R Panning of the tap delay sounds
‘Delay 2 Pan
Delay 4 Balance W Delay 1 Level’,
0–127 Volume of the tap delay sounds
‘Delay 2 Level
Delay 2 Amount of boost/cut for the low-
2-Band Low Gain -15– +15 dB
R in R out frequency range
Balance D EQ
Amount of boost/cut for the high-
High Gain -15– +15 dB
frequency range
Parameter Value Description Volume balance of the original
Balance D100:0W–D0:100W
0–2600 ms, Adjusts the time until Delays 1–4 are sound (D) and delay sound (W)
Delay 1–4 Time
note heard. Level 0–127 Output volume
Adjusts the amount of the delay sound
Delay 1
-98– +98% that’s fed back into the effect. Negative (-)
Feedback 51: SHUFFLE DELAY
settings invert the phase.
Adjusts the frequency above which sound
200–8000 Hz, fed back to the effect is filtered out. If you Adds a shuffle to the delay sound, giving the sound a bouncy delay
HF Damp
BYPASS don’t want to filter out any the high fre-
quencies, set this parameter to BYPASS. effect with a swing feel.
fig.MFX-51
Delay 1–4 Pan L64–63R Stereo location of Delays 1–4
L in 2-Band L out
Delay 1–4 Level 0–127 Output level of Delays 1–4
Feedback EQ
Low Gain -15– +15 dB Gain of the low frequency range Delay A A
High Gain -15– +15 dB Gain of the high frequency range
D100:0W– Volume balance between the direct sound
Delay
Balance
D0:100W (D) and the effect sound (W)
Delay B B
Level 0–127 Output level 2-Band
R in R out
EQ

Parameter Value Description

50: REVERSE DELAY Delay Time
0–2600 ms, Adjusts the time until the delay sound is
note heard.
Adjusts the ratio (as a percentage) of the
This is a reverse delay that adds a reversed and delayed sound to the
time that elapses before Delay B sounds rel-
input sound. A tap delay is connected immediately after the reverse Shuffle ative to the time that elapses before the De-
0–100%
delay. Rate lay A sounds.
fig.MFX-50
When set to 100%, the delay times are
the same.
L in 2-Band L out Adjusts the speed which the Delay Time
Feedback EQ Acceleration 0–15 changes from the current setting to its speci-
Rev
D1 fied new setting.
Rev. Delay Delay Adjusts the amount of the delay that’s fed
Feedback -98– +98% back into the effect. Negative (-) settings in-
D2 vert the phase.
D3
2-Band
R out Adjusts the frequency above which sound
R in
EQ 200–8000 Hz, fed back to the effect is filtered out. If you
HF Damp
BYPASS don’t want to filter out any high frequencies,
set this parameter to BYPASS.
Parameter Range Explanation Pan A/B 0–127 Stereo location of Delay A/B
Volume at which the reverse de- Level A/B 0–127 Volume of delay A/B
Threshold 0–127
lay will begin to be applied
Low Gain -15– +15 dB Gain of the low frequency range
Delay time from when sound is
Rev Delay Time 0–1300 ms, note input into the reverse delay until High Gain -15– +15 dB Gain of the high frequency range
the delay sound is heard D100:0W– Volume balance between the direct sound
Balance
Proportion of the delay sound D0:100W (D) and the effect sound (W)
Rev Delay that is to be returned to the input Level 0–127 Output level
-98– +98%
Feedback of the reverse delay (negative
values invert the phase)
Frequency at which the high-fre-
Rev Delay HF 200–8000 Hz, quency content of the reverse-de-
Damp BYPASS layed sound will be cut (BYPASS:
no cut)
Panning of the reverse delay
Rev Delay Pan L64–63R
sound
Volume of the reverse delay
Rev Delay Level 0–127
sound

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Parameter Value Description

52: 3D DELAY
Adjusts the frequency above which
sound fed back to the effect is fil-
This applies a 3D effect to the delay sound. The delay sound will be HF Damp
200–8000 Hz,
tered out. If you do not want to filter
positioned 90 degrees left and 90 degrees right. BYPASS
out any high frequencies, set this
fig.MFX-52 parameter to BYPASS.
2-Band Low Gain -15– +15 dB Gain of the low frequency range
L EQ L out
Level High Gain -15– +15 dB Gain of the high frequency range
3D Delay L D100:0W– Volume balance between the direct
Balance
D0:100W sound (D) and the delay sound (W)
3D Delay C Level 0–127 Output level

Feedback
3D Delay R
R 2-Band R out LONG TIME CTRL DLY
EQ 54:
(LONG TIME CONTROL DELAY)
Parameter Value Description
Delay Left Adjusts the delay time from the A delay in which the delay time can be varied smoothly, and allowing
Delay Right 0–2600 ms, note direct sound until the delay
sound is heard.
an extended delay to be produced.
Delay Center fig.MFX-54
Adjusts the proportion of the de-
Center lay sound that is fed back into the 2-Band
-98– +98% L in L out
Feedback effect. Negative (-) settings will Balance D EQ
invert the phase. Balance W
Adjusts the frequency above Time Control Delay
which sound fed back to the ef- Balance W
HF Damp 200–8000 Hz, BYPASS fect will be cut. If you do not want Feedback
to cut the high frequencies, set R in 2-Band R out
this parameter to BYPASS. Balance D EQ
Left Level
Right Level 0–127 Output level of the delay sound
Parameter Value Description
Center Level 0–2600 ms,
Delay Time Adjusts the time until the delay is heard.
note
Adjusts the method that will be
used to hear the sound that is out- Adjusts the speed which the Delay Time
put to the OUTPUT jacks. The opti- changes from the current setting to a speci-
Output Mode SPEAKER, PHONES mal 3D effect will be achieved if Acceleration 0–15 fied new setting.
you select SPEAKER when using The rate of change for the Delay Time di-
speakers, or PHONES when using rectly affects the rate of pitch change.
headphones. Adjusts the amount of the delay that’s fed
Low Gain -15– +15 dB Gain of the low range Feedback -98– +98% back into the effect. Negative (-) settings in-
vert the phase.
High Gain -15– +15 dB Gain of the high range
Adjusts the frequency above which sound
Volume balance between the direct 200–8000 Hz, fed back to the effect is filtered out. If you do
Balance D100:0W–D0:100W HF Damp
sound (D) and the effect sound (W) BYPASS not want to filter out any high frequencies,
Level 0–127 Output Level set this parameter to BYPASS.
Pan L64–63R Stereo location of the delay
Low Gain -15– +15 dB Gain of the low frequency range
High Gain -15– +15 dB Gain of the high frequency range
53: TIME CTRL DELAY D100:0W– Volume balance between the direct sound
Balance
D0:100W (D) and the delay sound (W)
A stereo delay in which the delay time can be varied smoothly. Level 0–127 Output level
fig.MFX-53

L in 2-Band EQ L out

Time Ctrl Delay Pan L

Feedback
Feedback

Time Ctrl Delay Pan R

R in 2-Band EQ R out

Parameter Value Description

Adjusts the time until the delay is
Delay Time 0–1300 ms, note
heard.
Adjusts the speed which the Delay Time
changes from the current setting to a
Acceleration 0–15 specified new setting.
The rate of change for the Delay Time
directly affects the rate of pitch change.
Adjusts the amount of the delay
Feedback -98– +98% that’s fed back into the effect. Neg-
ative (-) settings invert the phase.

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Parameter Value Description

55: TAPE ECHO
W/P Noise 200–8000 Hz, Center frequency of the low pass filter applied
LPF BYPASS to the white/pink noise (BYPASS: no cut)
A virtual tape echo that produces a realistic tape delay sound. This
W/P Noise
simulates the tape echo section of a Roland RE-201 Space Echo. Level
0–127 Volume of the white/pink noise
fig.MFX-55
Type of record noise
Disc Noise LP, EP, SP,
L in L out The frequency at which the noise is heard
Type RND
Direct Level depends on the selected type.
Echo Level
Adjusts the cutoff frequency of the low pass
Tape Echo Disc Noise 200–8000 Hz, filter applied to the record noise. If you don’t
Echo Level LPF BYPASS want to filter out any high frequencies, set
this parameter to BYPASS.
R in R out Disc Noise
Direct Level 0–127 Volume of the record noise
Level
Hum Noise
Parameter Value Description 50 Hz, 60 Hz Frequency of the hum noise
Type
Combination of playback heads to use Hum Noise 200–8000 Hz, Center frequency of the low pass filter ap-
S, M, L, S+M,
Select from three different heads with dif- LPF BYPASS plied to the hum noise (BYPASS: no cut)
Mode S+L, M+L,
ferent delay times.
S+M+L Hum Noise
S: short, M: middle, L: long 0–127 Volume of the hum noise
Level
Tape speed
Repeat Rate 0–127 Increasing this value will shorten the spac- Low Gain -15– +15 dB Gain of the low range
ing of the delayed sounds. High Gain -15– +15 dB Gain of the high range
Intensity 0–127 Amount of delay repeats D100:0W– Volume balance between the direct sound
Balance
Bass -15– +15 dB Boost/cut for the lower range of the echo sound D0:100W (D) and the effect sound (W)
Treble -15– +15 dB Boost/cut for the upper range of the echo sound Level 0–127 Output level
Head S Pan
Independent panning for the short, middle,
Head M Pan L64–63R
and long playback heads
Head L Pan
57: LOFI COMPRESS
Amount of tape-dependent distortion to be
added
This simulates the slight tonal changes This is an effect that intentionally degrades the sound quality for
Tape Distortion 0–5
that can be detected by signal-analysis creative purposes.
equipment. Increasing this value will in- fig.MFX-57
crease the distortion.
Speed of wow/flutter (complex variation in L in 2-Band L out
Wow/Flutter Compressor Lo-Fi
0–127 pitch caused by tape wear and rotational ir- EQ
Rate
regularity)
Wow/Flutter
0–127 Depth of wow/flutter 2-Band
Depth R in Compressor Lo-Fi R out
Echo Level 0–127 Volume of the echo sound EQ
Direct Level 0–127 Volume of the original sound
Parameter Value Description
Level 0–127 Output level
Selects the type of filter applied to the sound
before it passes through the Lo-Fi effect.
Pre Filter Type 1–6
1: Compressor off
2–6: Compressor on
56: LOFI NOISE LoFi Type 1–9
Degrades the sound quality. The sound qual-
ity grows poorer as this value is increased.
In addition to a lo-fi effect, this adds various types of noise such as Type of filter
OFF: no filter is used
white noise and disc noise. LPF: cuts the frequency range above the
Post Filter Type OFF, LPF, HPF
fig.MFX-56 Cutoff
HPF: cuts the frequency range below the
L in 2-Band L out Cutoff
EQ
Post Filter
Lo-Fi 200–8000 Hz Basic frequency of the Post Filter
Cutoff
Low Gain -15– +15 dB Gain of the low range
Noise Gen. High Gain -15– +15 dB Gain of the high range
D100:0W– Volume balance between the direct sound
Balance
D0:100W (D) and the effect sound (W)
Lo-Fi
Level 0–127 Output level
R in 2-Band
R out
EQ

Parameter Value Description

Degrades the sound quality. The sound quality
LoFi Type 1–9
grows poorer as this value is increased.
Type of filter
OFF: no filter is used
OFF, LPF, LPF: cuts the frequency range above the
Filter Type
HPF Cutoff
HPF: cuts the frequency range below the
Cutoff
Filter Cutoff 200–8000 Hz Center frequency of the filter
W/P Noise
WHITE, PINK Switch between white noise and pink noise.
Type

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58: LOFI RADIO Parameter Value Description

Signal
In addition to a Lo-Fi effect, this effect also generates radio noise. Distortion
0–127 Depth of distortion
fig.MFX-58
Frequency response of the playback system
2-Band Frequency Decreasing this value will produce the im-
L in L out 0–127
EQ Range pression of an old system with a poor fre-
quency response.
Lo-Fi
Rotational speed of the turntable
Disc Type LP, EP, SP This will affect the frequency of the
Radio scratch noise.
Scratch Noise Amount of noise due to scratches on the
0–127
Level record
Lo-Fi
Dust Noise
0–127 Volume of noise due to dust on the record
2-Band Level
R in R out
EQ Hiss Noise
0–127 Volume of continuous “hiss”
Level
Total Noise
Parameter Value Description 0–127 Volume of overall noise
Level
Degrades the sound quality. The sound qual-
LoFi Type 1–9 Wow 0–127 Depth of long-cycle rotational irregularity
ity grows poorer as this value is increased.
Flutter 0–127 Depth of short-cycle rotational irregularity
Type of filter
OFF: no filter is used Depth of indefinite-cycle rotational irregular-
Random 0–127
OFF, LPF, LPF: cuts the frequency range above the ity
Filter Type
HPF Cutoff Total Wow/
HPF: cuts the frequency range below the 0–127 Depth of overall rotational irregularity
Flutter
Cutoff D100:0W– Volume balance between the direct sound
Filter Cutoff 200–8000 Hz Basic frequency of the Post Filter Balance
D0:100W (D) and the effect sound (W)
Radio Simulates the tuning noise of a radio. As this Level 0–127 Output level
0–127
Detune value is raised, the tuning drifts further.
Radio Noise
0–127 Volume of the radio noise
Level
D100:0W– Volume balance between the direct sound
Balance
D0:100W (D) and the effect sound (W) PITCH SHIFTER
61:
Level 0–127 Output level (Feedback Pitch Shifter)

A stereo pitch shifter.

fig.MFX-61

59: TELEPHONE
L in 2-Band EQ L out
fig.MFX-59
Pitch Shifter
L in Telephone L out
Pitch Shifter

R in Telephone R out R in 2-Band EQ R out

Parameter Value Description Parameter Value Description

Voice Adjusts the pitch of the pitch shift-
0–15 Audio quality of the telephone voice Coarse -24– +12 semi
Quality ed sound in semitone steps.
Treble -15– +15 dB Bandwidth of the telephone voice Adjusts the pitch of the pitch shift-
D100:0– Volume balance between the direct sound Fine -100– +100 cent
Balance ed sound in 2-cent steps.
D0:100W (D) and the effect sound (W) Adjusts the delay time from the
Level 0–127 Output level Delay Time 0–1300 ms, note direct sound until the pitch shifted
sound is heard.
Adjusts the proportion of the
pitch shifted sound that is fed
Feedback -98– +98%
back into the effect. Negative (-)
60: PHONOGRAPH settings will invert the phase.
Low Gain -15– +15 dB Gain of the low range
Simulates a sound recorded on an analog record and played back on a High Gain -15– +15 dB Gain of the high range
record player. This effect also simulates the various types of noise that are Volume balance between the di-
typical of a record, and even the rotational irregularities of an old turntable. Balance D100:0W–D0:100W rect sound (D) and the pitch shift-
fig.MFX-60 ed sound (W)
Balance D Level 0–127 Output Level
L in L out

Phonograph Balance W

Phonograph Balance W

R in R out
Balance D

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Parameter Range Explanation

62: 2VOI PITCH SHIFTER (2VOICE PITCH SHIFTER)
Speed at which the amount of
Attack 0–127
pitch shift changes between steps
Shifts the pitch of the original sound. This 2-voice pitch shifter has two
Duration of the pitch shifted
pitch shifters, and can add two pitch shifted sounds to the original Gate Time 0–127
sound at each step
sound. Pitch shift adjustment for all steps
Fine -100– +100 cent
fig.MFX-62 (2-cent units)
Balance D Delay time from the original
L in L out Delay Time 0–1300 ms, note sound until the pitch-shifted
Level 1 sound is heard
Pan 1 L Balance W Proportion of the pitch-shifted sound
Feedback -98– +98% that is to be returned to the input
Pan 1 R (negative values invert the phase)
2Voice Pitch Shifter
Pan 2 L Amount of boost/cut for the low-
Low Gain -15– +15 dB
frequency range
Pan 2 R Balance W Amount of boost/cut for the high-
Level 1 High Gain -15– +15 dB
frequency range
R in R out
Balance D Volume balance of the original sound
Balance D100:0W–D0:100W
(D) and pitch-shifted sound (W)
Level 0–127 Output volume
Parameter Value Description
Pitch 1: Adjusts the pitch of Pitch Shift 1
-24-+12 semi
Coarse in semitone steps.
Adjusts the pitch of Pitch Shift 64: REVERB
Pitch 1:Fine -100-+100 cent
Pitch 1 in 2-cent steps.
Adjusts the delay time from the
Pitch 1:Delay 0–1300 ms, note direct sound until the Pitch Shift 1 Adds reverberation to the sound, simulating an acoustic space.
sound is heard. fig.MFX-64

Adjusts the proportion of the 2-Band

pitch shifted sound that is fed L in L out
Pitch 1:Feedback -98– +98% Balance D EQ
back into the effect. Negative (-)
Balance W
settings will invert the phase.
Reverb
Stereo location of the Pitch Shift
Pitch 1:Pan L64-63R Balance W
1 sound
Pitch 1:Level 0–127 Volume of the Pitch Shift1 sound R in 2-Band R out
Pitch 2: Balance D EQ
-24-+12 semi
Coarse
Pitch 2:Fine -100-+100 cent Settings of the Pitch Shift 2 Parameter Value Description
Pitch 2:Delay 0–1300 ms, note sound. Type of reverb
The parameters are the same as ROOM1: dense reverb with
Pitch 2:Feedback -98– +98% for the Pitch Shift 1 sound. short decay
Pitch 2:Pan L64-63R ROOM2: sparse reverb with
Pitch 2:Level 0–127 short decay
ROOM1, ROOM2, STAGE1: reverb with greater
Low Gain -15– +15 dB Gain of the low range
Type STAGE1, STAGE2, late reverberation
High Gain -15– +15 dB Gain of the high range HALL1, HALL2 STAGE2: reverb with strong
Volume balance between the early reflections
Level Balance A100:0B-A0:100B Pitch Shift 1 and Pitch Shift 2 HALL1: reverb with clear rever-
sounds berance
HALL2: reverb with rich rever-
Volume balance between the di-
berance
Balance D100:0W-D0:100W rect sound (D) and the pitch shift-
ed sound (W) Adjusts the delay time from the di-
Pre Delay 0.0–100.0 ms rect sound until the reverb sound
Level 0-127 Output Level
is heard.
Time 0–127 Time length of reverberation
Adjusts the frequency above which
the reverberant sound will be cut.
63: STEP PITCH SHIFTER As the frequency is set lower,
more of the high frequencies
200–8000 Hz,
HF Damp will be cut, resulting in a softer
A pitch shifter in which the amount of pitch shift is varied by a 16-step BYPASS
and more muted reverberance.
sequence. If you do not want to cut the
fig.MFX-63
high frequencies, set this pa-
rameter to BYPASS.
L in 2-Band Low Gain -15– +15 dB Gain of the low range
L out
EQ High Gain -15– +15 dB Gain of the high range
Step Pitch Shifter Volume balance between the direct
Balance D100:0W–D0:100W
sound (D) and the reverb sound (W)
Step Pitch Shifter Level 0–127 Output Level

R in 2-Band
R out
EQ

Parameter Range Explanation

Amount of pitch shift at each step
Step 01–16 -24–+12 semi
(semitone units)
Rate at which the 16-step se-
Rate 0.05–10.00 Hz, note
quence will cycle

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65: GATED REVERB 67: OVERDRIVE → FLANGER

This is a special type of reverb in which the reverberant sound is cut fig.MFX-67

off before its natural length. Balance D

fig.MFX-65 L in L out
Feedback
2-Band Balance W
L in L out
Balance D EQ
Overdrive Flanger
Balance W
Balance W
Gated Reverb
Balance W R in R out
R in 2-Band R out
Balance D
Balance D EQ
Parameter Value Description
Parameter Value Description
Degree of distortion
Type of reverb Overdrive Drive 0–127
Also changes the volume.
NORMAL: conventional gat-
Stereo location of the overdrive
ed reverb Overdrive Pan L64–63R
sound
NORMAL, REVERSE, REVERSE: backwards reverb
Type Adjusts the delay time from when
SWEEP1, SWEEP2 SWEEP1: the reverberant Flanger Pre
sound moves from right to left 0.0–100.0 ms the direct sound begins until the
Delay
SWEEP2: the reverberant flanger sound is heard.
sound moves from left to right Flanger Rate 0.05–10.00 Hz, note Frequency of modulation
Adjusts the delay time from the Flanger Depth 0–127 Depth of modulation
Pre Delay 0.0–100.0 ms direct sound until the reverb
Adjusts the proportion of the
sound is heard.
Flanger flanger sound that is fed back into
Adjusts the time from when the re- -98– +98%
Gate Time 5–500 ms Feedback the effect. Negative (-) settings will
verb is heard until it disappears. invert the phase.
Low Gain -15– +15 dB Gain of the low range Adjusts the volume balance be-
High Gain -15– +15 dB Gain of the high range tween the sound that is sent
Flanger Balance D100:0W–D0:100W through the flanger (W) and the
Volume balance between the di-
sound that is not sent through the
Balance D100:0W–D0:100W rect sound (D) and the reverb
flanger (D).
sound (W)
Level 0–127 Output Level
Level 0–127 Output Level

66: OVERDRIVE → CHORUS 68: OVERDRIVE → DELAY

fig.MFX-66 fig.MFX-68

L in L out L in L out
Balance D Balance D
Balance W Balance W
Overdrive Chorus Overdrive Delay
Balance W Balance W
Feedback
R in R out R in R out
Balance D Balance D

Parameter Value Description Parameter Value Description

Degree of distortion Degree of distortion
Overdrive Drive 0–127 Overdrive Drive 0–127
Also changes the volume. Also changes the volume.
Stereo location of the overdrive Stereo location of the overdrive
Overdrive Pan L64–63R Overdrive Pan L64–63R
sound sound
Adjusts the delay time from the di- Adjusts the delay time from the
Chorus Pre
0.0–100.0 ms rect sound until the chorus sound is Delay Time 0–2600 ms, note direct sound until the delay
Delay
heard. sound is heard.
Chorus Rate 0.05–10.00 Hz, note Frequency of modulation Adjusts the proportion of the de-
Chorus Depth 0–127 Depth of modulation Delay lay sound that is fed back into the
-98– +98%
Adjusts the volume balance be- Feedback effect. Negative (-) settings will
tween the sound that is sent invert the phase.
Chorus Balance D100:0W–D0:100W through the chorus (W) and the Adjusts the frequency above
sound that is not sent through the which sound fed back to the ef-
chorus (D). 200–8000 Hz,
Delay HF Damp fect will be cut. If you do not want
BYPASS
Level 0–127 Output Level to cut the high frequencies, set
this parameter to BYPASS.
Adjusts the volume balance be-
tween the sound that is sent
Delay Balance D100:0W–D0:100W through the delay (W) and the
sound that is not sent through the
delay (D).
Level 0–127 Output Level

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Parameter Value Description

69: DISTORTION → CHORUS
0.05–10.00 Hz,
Chorus Rate Frequency of modulation
note
The parameters are essentially the same as in “66: OVERDRIVE →
Chorus Depth 0–127 Depth of modulation
CHORUS,” with the exception of the following two.
Adjusts the volume balance between
Overdrive Drive → Distortion Drive, Overdrive Pan → Distortion Pan D100:0W– the sound that is sent through the cho-
Chorus Balance
fig.MFX-69 D0:100W rus (W) and the sound that is not sent
through the chorus (D).
L in L out
Balance D Level 0–127 Output Level
Balance W
Distortion Chorus
Balance W
73: ENHANCER → FLANGER
R in R out
Balance D
fig.MFX-73
Balance D
L in Enhancer L out
Mix Feedback
Balance W
70: DISTORTION → FLANGER Flanger
Balance W
The parameters are essentially the same as in “67: OVERDRIVE →
FLANGER,” with the exception of the following two. R in Enhancer R out
Mix Balance D
Overdrive Drive → Distortion Drive, Overdrive Pan → Distortion Pan
fig.MFX-70 Parameter Value Description
Balance D Enhancer Sens 0–127 Sensitivity of the enhancer
L in L out Level of the overtones generated
Enhancer Mix 0–127
Feedback by the enhancer
Balance W
Adjusts the delay time from when
Distortion Flanger Flanger Pre Delay 0.0–100.0 ms the direct sound begins until the
Balance W flanger sound is heard.
0.05–10.00 Hz,
Flanger Rate Frequency of modulation
R in R out note
Balance D Flanger Depth 0–127 Depth of modulation
Adjusts the proportion of the
flanger sound that is fed back into
Flanger Feedback -98– +98%
the effect. Negative (-) settings will
invert the phase.
71: DISTORTION → DELAY Adjusts the volume balance between
D100:0W– the sound that is sent through the
Flanger Balance
D0:100W flanger (W) and the sound that is not
The parameters are essentially the same as in “68: OVERDRIVE → sent through the flanger (D).
DELAY,” with the exception of the following two. Level 0–127 Output Level
Overdrive Drive → Distortion Drive, Overdrive Pan → Distortion Pan
fig.MFX-71

L in L out
Balance D
Balance W
Distortion Delay
Balance W
Feedback
R in R out
Balance D

72: ENHANCER → CHORUS

fig.MFX-72

L in Enhancer L out
Mix Balance D
Balance W
Chorus
Balance W

R in Enhancer R out
Mix Balance D

Parameter Value Description

Enhancer Sens 0–127 Sensitivity of the enhancer
Level of the overtones generated
Enhancer Mix 0–127
by the enhancer
Adjusts the delay time from the di-
Chorus Pre Delay 0.0–100.0 ms rect sound until the chorus sound is
heard.

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74: ENHANCER → DELAY 76: FLANGER → DELAY

fig.MFX-74 fig.MFX-76

L in Enhancer L out Balance D

Mix Balance D L in L out
Balance W Feedback Balance D
Delay Balance W Balance W
Balance W Flanger Delay
Feedback Balance W
Balance W
R in Enhancer R out Feedback
Mix Balance D R in R out
Balance D Balance D

Parameter Value Description Parameter Value Description

Enhancer Sens 0–127 Sensitivity of the enhancer Adjusts the delay time from when
Level of the overtones generated Flanger Pre Delay 0.0–100.0 ms the direct sound begins until the
Enhancer Mix 0–127
by the enhancer flanger sound is heard.
Adjusts the delay time from the Flanger Rate 0.05–10.00 Hz, note Frequency of modulation
Delay Time 0–2600 ms, note direct sound until the delay Flanger Depth 0–127 Depth of modulation
sound is heard.
Adjusts the proportion of the
Adjusts the proportion of the de- flanger sound that is fed back into
Delay lay sound that is fed back into the Flanger Feedback -98– +98%
-98– +98% the effect. Negative (-) settings will
Feedback effect. Negative (-) settings will invert the phase.
invert the phase.
Volume balance between the di-
Adjusts the frequency above Flanger Balance D100:0W–D0:100W rect sound (D) and the flanger
which sound fed back to the ef- sound (W)
200–8000 Hz,
Delay HF Damp fect will be cut. If you do not want
BYPASS Adjusts the delay time from the di-
to cut the high frequencies, set
this parameter to BYPASS. Delay Time 0–2600 ms, note rect sound until the delay sound is
heard.
Adjusts the volume balance be-
tween the sound that is sent Adjusts the proportion of the de-
Delay Balance D100:0W–D0:100W through the delay (W) and the Delay lay sound that is fed back into the
-98– +98%
sound that is not sent through the Feedback effect. Negative (-) settings will in-
delay (D). vert the phase.
Level 0–127 Output Level Adjusts the frequency above
which sound fed back to the effect
200–8000 Hz,
Delay HF Damp will be cut. If you do not want to
BYPASS
cut the high frequencies, set this
75: CHORUS → DELAY parameter to BYPASS.
Adjusts the volume balance between
fig.MFX-75 Delay the sound that is sent through the de-
D100:0W–D0:100W
Balance lay (W) and the sound that is not sent
Balance D through the delay (D).
L in L out Level 0–127 Output Level
Balance D
Balance W Balance W
Chorus Delay
Balance W Balance W
Feedback
R in R out
Balance D Balance D

Parameter Value Description

Adjusts the delay time from the di-
Chorus Pre
0.0–100.0 ms rect sound until the chorus sound is
Delay
heard.
Chorus Rate 0.05–10.00 Hz, note Frequency of modulation
Chorus Depth 0–127 Depth of modulation
Volume balance between the di-
Chorus Balance D100:0W–D0:100W rect sound (D) and the chorus
sound (W)
Adjusts the delay time from the di-
Delay Time 0–2600 ms, note rect sound until the delay sound is
heard.
Adjusts the proportion of the delay
Delay sound that is fed back into the ef-
-98– +98%
Feedback fect. Negative (-) settings will invert
the phase.
Adjusts the frequency above which
sound fed back to the effect will be
200–8000 Hz,
Delay HF Damp cut. If you do not want to cut the
BYPASS
high frequencies, set this parame-
ter to BYPASS.
Adjusts the volume balance be-
tween the sound that is sent
Delay
D100:0W–D0:100W through the delay (W) and the
Balance
sound that is not sent through the
delay (D).
Level 0–127 Output Level

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77: CHORUS → FLANGER SYMPATHETIC RESO

78:
fig.MFX-77 (SYMPATHETIC RESONANCE)
Balance D Balance D
On an acoustic piano, holding down the damper pedal allows other
L in L out
Feedback strings to resonate in sympathy with the notes you play, creating rich
Balance W Balance W and spacious resonances. This effect simulates these sympathetic
Chorus Flanger resonances.
Balance W Balance W fig.MFX-78

R in R out 3-Band
L in L out
Balance D Balance D EQ

Parameter Value Description Sym. Resonance

Chorus Pre Adjusts the delay time from the direct
0.0–100.0 ms
Delay sound until the chorus sound is heard.
3-Band
Modulation frequency of the chorus R in R out
Chorus Rate 0.05–10.00 Hz, note EQ
effect
Chorus Depth 0–127 Modulation depth of the chorus effect
Volume balance between the direct Parameter Range Explanation
Chorus Balance D100:0W–D0:100W
sound (D) and the chorus sound (W) Depth 0–127 Depth of the effect
Adjusts the delay time from when Depth to which the damper pedal is
Flanger Pre
0.0–100.0 ms the direct sound begins until the Damper 0–127 pressed (controls the resonant
Delay
flanger sound is heard. sound)
Modulation frequency of the flanger Frequency of the filter that cuts the
Flanger Rate 0.05–10.00 Hz, note 16–15000 Hz,
effect Pre LPF high-frequency content of the input
BYPASS
Flanger Depth 0–127 Modulation depth of the flanger effect sound (BYPASS: no cut)
Adjusts the proportion of the flanger Frequency of the filter that cuts the
BYPASS,
Flanger sound that is fed back into the ef- Pre HPF low-frequency content of the input
-98– +98% 16–15000 Hz
Feedback fect. Negative (-) settings will invert sound (BYPASS: no cut)
the phase. Frequency of the filter that boosts/
Adjusts the volume balance between Peaking Freq 200–8000 Hz cuts a specific frequency region of
the sound that is sent through the the input sound
Flanger Balance D100:0W–D0:100W
flanger (W) and the sound that is not Amount of boost/cut produced by
sent through the flanger (D). Peaking Gain -15– +15 dB the filter at the specified frequency
Level 0–127 Output Level region of the input sound
Width of the frequency region
0.5, 1.0, 2.0, 4.0, boosted/cut by the ‘Peaking Gain’
Peaking Q
8.0 parameter (larger values make the
region narrower)
Frequency at which the high-fre-
16–15000 Hz,
HF Damp quency content of the resonant
BYPASS
sound will be cut (BYPASS: no cut)
Frequency at which the low-frequen-
BYPASS,
LF Damp cy content of the resonant sound will
16–15000 Hz
be cut (BYPASS: no cut)
This simulates the actual changes in
sound that occur when the lid of a
Lid 6–1
grand piano is set at different
heights.
EQ Low Freq 200, 400 Hz Frequency of the low-range EQ
EQ Low Gain -15– +15 dB Amount of low-range boost/cut
EQ Mid Freq 200–8000 Hz Frequency of the midrange EQ
EQ Mid Gain -15– +15 dB Amount of midrange boost/cut
0.5, 1.0, 2.0, 4.0, Width of midrange (larger values
EQ Mid Q
8.0 make the region narrower)
2000, 4000, 8000
EQ High Freq Frequency of the high-range EQ
Hz
EQ High Gain -15–+15 dB Amount of high-range boost/cut
Level 0–127 Output Level

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Chorus Parameters
The Prelude’s Chorus effect unit can also be used as a stereo delay unit.
These settings allow you to select chorus or delay, and the characteristics of the selected effect type.

Parameter Value Description

If you specify the delay time as a note value, slowing down the
Selects either Chorus or Delay.
0 (OFF): Neither Chorus or Delay is tempo will not change the delay time beyond a certain length.
0 (OFF),
used. This is because there is an upper limit for the delay time; if the
1 (CHORUS),
Chorus Type 1 (CHORUS): Chorus is used.
2 (DELAY), delay time is specified as a note value and you slow down the
2 (DELAY): Delay is used.
3 (GM2 CHORUS) tempo until this upper limit is reached, the delay time cannot
3 (GM2 CHORUS): GM2 Chorus is
used. change any further. This upper limit is the maximum value that
01: CHORUS can be specified when setting the delay time as a numerical
value.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above
Filter Type OFF, LPF, HPF
the Cutoff Freq note:
HPF: cuts the frequency range be-
low the Cutoff Freq fig.MFX-note2.e

Cutoff Freq 200–8000 Hz Basic frequency of the filter Sixty-fourth-note triplet Sixty-fourth note Thirty-second-note triplet
Adjusts the delay time from the direct
Pre Delay 0.0–100.0 ms
sound until the chorus sound is heard. Thirty-second note Sixteenth-note triplet Dotted thirty-second note
0.05–10.00 Hz,
Rate Frequency of modulation
note Sixteenth note Eighth-note triplet Dotted sixteenth note
Depth 0–127 Depth of modulation
Phase 0–180˚ Spatial spread of the sound
Eighth note Quarter-note triplet Dotted eighth note
Adjusts the amount of the chorus sound Quarter note Half-note triplet Dotted quarter note
Feedback 0–127
that is fed back into the effect.

02: DELAY Half note Whole-note triplet Dotted half note

Delay Left Whole note Double-note triplet Dotted whole note

Adjusts the delay time from the direct
Delay Right 0–1000 ms, note
sound until the delay sound is heard. Double note
Delay Center
Adjusts the proportion of the delay
Center Feed- sound that is fed back into the effect.
-98–+98%
back Negative (-) settings will invert the
phase.
Adjusts the frequency above which
sound fed back to the effect will be cut.
200–8000 Hz,
HF Damp If you do not want to cut the high fre-
BYPASS
quencies, set this parameter to BY-
PASS.
Left Level
Right Level 0–127 Volume of each delay sound
Center Level

03: GM2 CHORUS

Cuts the high frequency range of the
sound coming into the chorus.
Pre-LPF 0–7
Higher values will cut more of the
high frequencies.
Level 0–127 Volume of the chorus sound
Adjusts the amount of the chorus sound
Feedback 0–127
that is fed back into the effect.
Adjusts the delay time from the direct
Delay 0–127
sound until the chorus sound is heard.
Rate 0–127 Frequency of modulation
Depth 0–127 Depth of modulation
Send Level To Adjusts the amount of chorus sound that
0–127
Reverb will be sent to the reverb.

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Reverb Parameters
These settings allow you to select the desired type of reverb, and its characteristics.

Parameter Value Description Parameter Value Description

Type of reverb
0 (OFF): Reverb is not used. 05: GM2 REVERB
1 (REVERB): Normal reverb Type of reverb
0 (OFF), 2 (SRV ROOM): This simulates typical room Character 0–7 0–5: reverb
1 (REVERB), acoustic reflections. 6, 7: delay
Reverb 2 (SRV ROOM), 3 (SRV HALL): This simulates typical concert
Type 3 (SRV HALL), hall acoustic reflections. Cuts the high frequency range of the sound
4 (SRV PLATE), 4 (SRV PLATE): This simulates a reverb coming into the reverb.
Pre-LPF 0–7
5 (GM2 REVERB) plate, a popular type of artificial reverb unit Higher values will cut more of the high fre-
that derives its sound from the vibration of a quencies.
metallic plate. Level 0–127 Output level of reverberation
5 (GM2 REVERB): GM2 Reverb Time 0–127 Time length of reverberation
01: REVERB Delay
Adjusts the amount of the delay sound that is
0–127 fed back into the effect when the Reverb Char-
Feedback
Type of reverb/delay acter setting is 6 or 7.
ROOM1: short reverb with high density
ROOM2: short reverb with low density
ROOM1,
STAGE1: reverb with greater late reverber-
ROOM2,
ation
STAGE1,
Type STAGE2: reverb with strong early reflections
STAGE2, HALL1,
HALL1: very clear-sounding reverb
HALL2, DELAY,
HALL2: rich reverb
PAN-DELAY
DELAY: conventional delay effect
PAN-DELAY: delay effect with echoes that
pan left and right
Time length of reverberation
(Type: ROOM1–HALL2)
Time 0–127
Delay time
(Type: DELAY, PAN-DELAY)
Adjusts the frequency above which the high-fre-
200–8000 Hz, quency content of the reverb sound will be cut, or
HF Damp
BYPASS “damped.” If you do not want to cut the high fre-
quencies, set this parameter to BYPASS.
Adjusts the amount of delay feedback when
the Type setting is DELAY or PAN-DELAY.
Delay
0–127 Amount of delay sound returned to the input
Feedback
(this setting is valid only if Type is DELAY or
PAN-DELAY)

02: SRV ROOM

03: SRV HALL
04: SRV PLATE
Pre Adjusts the delay time from the direct sound until
0.0–100.0 ms
Delay the reverb sound is heard.
Time 0–127 Time length of reverberation
Size 1–8 Size of the simulated room or hall
Adjusts the frequency above which the high-
160 Hz–12.5 frequency content of the reverb will be re-
High Cut
kHz, BYPASS duced. If you do not want to reduce the high
frequencies, set this parameter to BYPASS.
Density 0–127 Density of reverb
Adjusts the change in the density of the reverb over
time. The higher the value, the more the density in-
Diffusion 0–127
creases with time. (The effect of this setting is most
pronounced with long reverb times.)
Adjusts the frequency below which the low-fre-
LF Damp
50–4000 Hz quency content of the reverb sound will be re-
Freq
duced, or “damped.”
Adjusts the amount of damping applied to the
LF Damp frequency range selected with LF Damp. With
-36–0 dB
Gain a setting of “0,” there will be no reduction of
the reverb’s low-frequency content.
Adjusts the frequency above which the high-
HF Damp 4000 Hz–12.5
frequency content of the reverb sound will be
Freq kHz
reduced, or “damped.”
Adjusts the amount of damping applied to the
HF Damp frequency range selected with HF Damp. With
-36–0 dB
Gain a setting of “0,” there will be no reduction of
the reverb’s high-frequency content.

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Tone List
* Nos. 897–1152 (Tones) and Nos. 1185–1193 (Rhythms) are GM2 sounds.

No. Name Category MSB LSB PC No. Name Category MSB LSB PC
76 Funky D KEYBOARDS 87 64 76
1 Rich Grand AC.PIANO 87 64 1
77 Phase Clavi KEYBOARDS 87 64 77
2 88ConcertPno AC.PIANO 87 64 2
78 BPF Clavi Ph KEYBOARDS 87 64 78
3 UltimatGrand AC.PIANO 87 64 3
79 Pulse Clavi KEYBOARDS 87 64 79
4 X Pure Grand AC.PIANO 87 64 4
80 PWM Clav KEYBOARDS 87 64 80
5 So true... AC.PIANO 87 64 5
81 Funky Line KEYBOARDS 87 64 81
6 ConcertPiano AC.PIANO 87 64 6
82 Biting Clav KEYBOARDS 87 64 82
7 Warm Piano AC.PIANO 87 64 7
83 Analog Clavi KEYBOARDS 87 64 83
8 ConcertGrand AC.PIANO 87 64 8
84 Reso Clavi KEYBOARDS 87 64 84
9 Hall Concert AC.PIANO 87 64 9
85 Snappy Clav KEYBOARDS 87 64 85
10 Bright Tune AC.PIANO 87 64 10
86 Over-D6 KEYBOARDS 87 64 86
11 Mellow Tune AC.PIANO 87 64 11
87 Harpsy Clavi KEYBOARDS 87 64 87
12 Studio Grand AC.PIANO 87 64 12
88 SC Harpsi KEYBOARDS 87 64 88
13 DryStudio88 AC.PIANO 87 64 13
89 Amadeus KEYBOARDS 87 64 89
14 First Choice AC.PIANO 87 64 14
90 SC Celesta KEYBOARDS 87 64 90
15 Rokkin' pF AC.PIANO 87 64 15
91 Himalaya Ice BELL 87 64 91
16 Dark Grand AC.PIANO 87 64 16
92 FM Syn Bell BELL 87 64 92
17 SC Grand+Pad AC.PIANO 87 64 17
93 D-50 Fantsia BELL 87 64 93
18 Warm Pad Pno AC.PIANO 87 64 18
94 Wine Glass BELL 87 64 94
19 SC Grand+Vox AC.PIANO 87 64 19
95 MuBox Pad BELL 87 64 95
20 Cicada Piano AC.PIANO 87 64 20
96 SC Bell 1 BELL 87 64 96
21 X Piano +Str AC.PIANO 87 64 21
97 FM Heaven BELL 87 64 97
22 Warm Str Pno AC.PIANO 87 64 22
98 SC Glocken BELL 87 64 98
23 Grand Hall AC.PIANO 87 64 23
99 Music Bells BELL 87 64 99
24 Rapsody AC.PIANO 87 64 24
100 SC Musicbox BELL 87 64 100
25 JD-800 Piano AC.PIANO 87 64 25
101 Music Box 2 BELL 87 64 101
26 SA Dance Pno AC.PIANO 87 64 26
102 Kalimbells BELL 87 64 102
27 SC E-Grand AC.PIANO 87 64 27
103 Step Ice BELL 87 64 103
28 Back E-Grand AC.PIANO 87 64 28
104 SC Bell 2 BELL 87 64 104
29 SC Grand+FM AC.PIANO 87 64 29
105 Candy Bell BELL 87 64 105
30 SC Blend Pno AC.PIANO 87 64 30
106 SC Chime BELL 87 64 106
31 Piano Oz AC.PIANO 87 64 31
107 Bell Ring BELL 87 64 107
32 FX Piano AC.PIANO 87 64 32
108 Tubular Bell BELL 87 64 108
33 AmbientPiano AC.PIANO 87 64 33
109 5th Key BELL 87 64 109
34 SC Pure EP EL.PIANO 87 64 34
110 Bell Monitor BELL 87 64 110
35 SC Trem EP EL.PIANO 87 64 35
111 TubyRuesday BELL 87 64 111
36 SC Phase EP EL.PIANO 87 64 36
112 Vibrations MALLET 87 64 112
37 PhaseEPLayer EL.PIANO 87 64 37
113 SC Vibe MALLET 87 64 113
38 SC E.Piano EL.PIANO 87 64 38
114 Ringy Vibes MALLET 87 64 114
39 StageEP Trem EL.PIANO 87 64 39
115 Airie Vibez MALLET 87 64 115
40 Back2the60s EL.PIANO 87 64 40
116 SC Marimba MALLET 87 64 116
41 Stage EP EL.PIANO 87 64 41
117 FM Wood MALLET 87 64 117
42 Stage Phazer EL.PIANO 87 64 42
118 SC Xylo MALLET 87 64 118
43 StageCabinet EL.PIANO 87 64 43
119 Ethno Keys MALLET 87 64 119
44 Tine EP EL.PIANO 87 64 44
120 Synergy MLT MALLET 87 64 120
45 LEO EP EL.PIANO 87 64 45
121 Icy Keys MALLET 87 64 121
46 LonesomeRoad EL.PIANO 87 64 46
122 Steel Drums MALLET 87 64 122
47 Age'n'Tines EL.PIANO 87 64 47
123 50`SteelDrms MALLET 87 64 123
48 Brill TremEP EL.PIANO 87 64 48
124 Xylosizer MALLET 87 64 124
49 Crystal EP EL.PIANO 87 64 49
125 Toy Box MALLET 87 64 125
50 Vintage Tine EL.PIANO 87 64 50
126 AirPluck MALLET 87 64 126
51 Celestial EP EL.PIANO 87 64 51
127 HardRockORG1 ORGAN 87 64 127
52 Psycho EP EL.PIANO 87 64 52
128 HardRockORG2 ORGAN 87 64 128
53 Mk2 Stg phsr EL.PIANO 87 64 53
129 SuperDistORG ORGAN 87 65 1
54 Dreaming EP EL.PIANO 87 64 54
130 SuperDistLd2 ORGAN 87 65 2
55 Balladeer EL.PIANO 87 64 55
131 FullDraw Org ORGAN 87 65 3
56 Remember EL.PIANO 87 64 56
57 Vibe EP EL.PIANO 87 64 57 132 StakDraw Org ORGAN 87 65 4
133 FullStop Org ORGAN 87 65 5
58 sin(EP) EL.PIANO 87 64 58
134 SC Perc Org ORGAN 87 65 6
59 SC Pure Wuly EL.PIANO 87 64 59
135 VKHold4Speed ORGAN 87 65 7
60 SC Trem Wuly EL.PIANO 87 64 60
136 X Perc Organ ORGAN 87 65 8
61 Super Wurly EL.PIANO 87 64 61
137 Rocky Organ ORGAN 87 65 9
62 Wurly Trem EL.PIANO 87 64 62
138 Euro Organ ORGAN 87 65 10
63 VelSpdWurly EL.PIANO 87 64 63
139 Rhythm'n'B ORGAN 87 65 11
64 Fonky Fonky EL.PIANO 87 64 64
140 Phono Organ ORGAN 87 65 12
65 FM EP mix EL.PIANO 87 64 65
141 LoFi PercOrg ORGAN 87 65 13
66 FM-777 EL.PIANO 87 64 66
142 Rochno Org ORGAN 87 65 14
67 FM EPad EL.PIANO 87 64 67
143 R&B Organ 1 ORGAN 87 65 15
68 EP Stack EL.PIANO 87 64 68
144 R&B Organ 2 ORGAN 87 65 16
69 EP Belle EL.PIANO 87 64 69
145 SC Dist Bee ORGAN 87 65 17
70 80s EP EL.PIANO 87 64 70
146 60's Org 1 ORGAN 87 65 18
71 SA EPiano EL.PIANO 87 64 71
147 60's Org 2 ORGAN 87 65 19
72 BrillClav DB KEYBOARDS 87 64 72
148 Smoky Organ ORGAN 87 65 20
73 Cell Clav KEYBOARDS 87 64 73
149 SC SoapOpera ORGAN 87 65 21
74 VntgClav KEYBOARDS 87 64 74
150 Crummy Organ ORGAN 87 65 22
75 Cutter Clavi KEYBOARDS 87 64 75

84
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No. Name Category MSB LSB PC No. Name Category MSB LSB PC
151 Chapel Organ ORGAN 87 65 23 228 SC Rubber Bs SYNTH BASS 87 65 100
152 Grand Pipe ORGAN 87 65 24 229 SH-101 Bs 1 SYNTH BASS 87 65 101
153 Pipe Org/Mod ORGAN 87 65 25 230 SC Syn Bass1 SYNTH BASS 87 65 102
154 Masked Opera ORGAN 87 65 26 231 Juno-106 Bs SYNTH BASS 87 65 103
155 Mid Pipe Org ORGAN 87 65 27 232 Smooth Bass SYNTH BASS 87 65 104
156 Vodkakordion ACCRDION 87 65 28 233 SC Flat Bs SYNTH BASS 87 65 105
157 Squeeze Me! ACCRDION 87 65 29 234 Foundation SYNTH BASS 87 65 106
158 Guinguette ACCRDION 87 65 30 235 Punch MG 2 SYNTH BASS 87 65 107
159 HarWonderca HARMONICA 87 65 31 236 Electro Rubb SYNTH BASS 87 65 108
160 BluesHrp V/S HARMONICA 87 65 32 237 R&B Bass 1 SYNTH BASS 87 65 109
161 Green Bullet HARMONICA 87 65 33 238 Enorjizor SYNTH BASS 87 65 110
162 SC Brt Nylon AC.GUITAR 87 65 34 239 LowFat Bass SYNTH BASS 87 65 111
163 SoftNyln Gtr AC.GUITAR 87 65 35 240 Doze Bass SYNTH BASS 87 65 112
164 SC Nylon Gt AC.GUITAR 87 65 36 241 DCO Bass SYNTH BASS 87 65 113
165 Wet Nyln Gtr AC.GUITAR 87 65 37 242 Virtual RnBs SYNTH BASS 87 65 114
166 Pre Mass Hum AC.GUITAR 87 65 38 243 Saw&MG Bass SYNTH BASS 87 65 115
167 Thick Steel AC.GUITAR 87 65 39 244 MG+SubOsc Bs SYNTH BASS 87 65 116
168 Uncle Martin AC.GUITAR 87 65 40 245 R&B Bass 2 SYNTH BASS 87 65 117
169 Wide Ac Gtr AC.GUITAR 87 65 41 246 R&B Bass 3 SYNTH BASS 87 65 118
170 Comp Stl Gtr AC.GUITAR 87 65 42 247 Not a Bass SYNTH BASS 87 65 119
171 Stl Gtr Duo AC.GUITAR 87 65 43 248 ResoSyn Bs 1 SYNTH BASS 87 65 120
172 SC 12str Gtr AC.GUITAR 87 65 44 249 SH-1 Bass SYNTH BASS 87 65 121
173 So good ! AC.GUITAR 87 65 45 250 SH-101 Bs 2 SYNTH BASS 87 65 122
174 StratSeq'nce EL.GUITAR 87 65 46 251 Punch MG 1 SYNTH BASS 87 65 123
175 Jazz Guitar EL.GUITAR 87 65 47 252 MKS-50 SynBs SYNTH BASS 87 65 124
176 DynoJazz Gtr EL.GUITAR 87 65 48 253 Gashed Bass SYNTH BASS 87 65 125
177 Clean Gtr EL.GUITAR 87 65 49 254 Q Bass SYNTH BASS 87 65 126
178 Crimson Gtr EL.GUITAR 87 65 50 255 Super-G DX SYNTH BASS 87 65 127
179 Plug n' Gig EL.GUITAR 87 65 51 256 Kickin' Bass SYNTH BASS 87 65 128
180 Kinda Kurt EL.GUITAR 87 65 52 257 OilDrum Bass SYNTH BASS 87 66 1
181 Nice Oct Gtr EL.GUITAR 87 65 53 258 Dust Bass SYNTH BASS 87 66 2
182 Strat Gtr EL.GUITAR 87 65 54 259 Glide-iator SYNTH BASS 87 66 3
183 Touch Drive DIST.GUITAR 87 65 55 260 SC AcidPunch SYNTH BASS 87 66 4
184 SC Chunk DIST.GUITAR 87 65 56 261 TBasic SYNTH BASS 87 66 5
185 Trem-o-Vibe DIST.GUITAR 87 65 57 262 SC Unison Bs SYNTH BASS 87 66 6
186 LP Dist DIST.GUITAR 87 65 58 263 Detune Bass SYNTH BASS 87 66 7
187 Hurtling Gtr DIST.GUITAR 87 65 59 264 Lo Bass SYNTH BASS 87 66 8
188 Searing COSM DIST.GUITAR 87 65 60 265 SC GarageBs1 SYNTH BASS 87 66 9
189 SC Loud Gtr DIST.GUITAR 87 65 61 266 SC GarageBs2 SYNTH BASS 87 66 10
190 SC Plugged!! DIST.GUITAR 87 65 62 267 Sub Sonic SYNTH BASS 87 66 11
191 Punker 1 DIST.GUITAR 87 65 63 268 SC Jungle Bs SYNTH BASS 87 66 12
192 SC PowerChd DIST.GUITAR 87 65 64 269 R&B Bass 4 SYNTH BASS 87 66 13
193 Punker 2 DIST.GUITAR 87 65 65 270 Simply Basic SYNTH BASS 87 66 14
194 Larsen /Aft DIST.GUITAR 87 65 66 271 Beepin Bass SYNTH BASS 87 66 15
195 Rockin' Dly DIST.GUITAR 87 65 67 272 MC-TB Bass SYNTH BASS 87 66 16
196 Sonic Ac Bs BASS 87 65 68 273 Acdg Bass SYNTH BASS 87 66 17
197 Ulti Ac Bass BASS 87 65 69 274 Loco Voco SYNTH BASS 87 66 18
198 Downright Bs BASS 87 65 70 275 Unplug it! SYNTH BASS 87 66 19
199 Cmp'd Fng Bs BASS 87 65 71 276 S&H Bass SYNTH BASS 87 66 20
200 Sonic Fng Bs BASS 87 65 72 277 Destroyed Bs SYNTH BASS 87 66 21
201 Ultimo Bass BASS 87 65 73 278 SC Acid Bs SYNTH BASS 87 66 22
202 Roomy Bass BASS 87 65 74 279 Lo-Fi TB SYNTH BASS 87 66 23
203 FingerMaster BASS 87 65 75 280 Drop Bass SYNTH BASS 87 66 24
204 All Round Bs BASS 87 65 76 281 Big Mini SYNTH BASS 87 66 25
205 R&B Bs/Slide BASS 87 65 77 282 Muffled MG SYNTH BASS 87 66 26
206 Sonic Pck Bs BASS 87 65 78 283 Intrusive Bs SYNTH BASS 87 66 27
207 Thumb Up! BASS 87 65 79 284 Alpha SynBs SYNTH BASS 87 66 28
208 Tubby Mute BASS 87 65 80 285 TransistorBs SYNTH BASS 87 66 29
209 Chicken Bass BASS 87 65 81 286 Juno-60 Bass SYNTH BASS 87 66 30
210 Snug Bass BASS 87 65 82 287 Storm Bass SYNTH BASS 87 66 31
211 Return2Base! BASS 87 65 83 288 Alpha ResoBs SYNTH BASS 87 66 32
212 Chorus Bass BASS 87 65 84 289 SH-101 Vibe SYNTH BASS 87 66 33
213 A Big Pick BASS 87 65 85 290 Fazee Bass SYNTH BASS 87 66 34
214 Basement BASS 87 65 86 291 Hi-Energy Bs SYNTH BASS 87 66 35
215 SC Fretnot 1 BASS 87 65 87 292 SC Violin STRINGS 87 66 36
216 SC Fretnot 2 BASS 87 65 88 293 Violin STRINGS 87 66 37
217 RichFretless BASS 87 65 89 294 Viola STRINGS 87 66 38
218 NewAge Frtls BASS 87 65 90 295 SC Cello STRINGS 87 66 39
219 SlapBass1 BASS 87 65 91 296 Cello STRINGS 87 66 40
220 Slap2 w/Fx BASS 87 65 92 297 Contrabass STRINGS 87 66 41
221 Got Pop? BASS 87 65 93 298 Dolce Qrt STRINGS 87 66 42
222 JBass v/Thmb BASS 87 65 94 299 Chamber Str STRINGS 87 66 43
223 SC Slap Bass BASS 87 65 95 300 Small Str STRINGS 87 66 44
224 X Slap Bass BASS 87 65 96 301 Marcato STRINGS 87 66 45
225 Low Bass SYNTH BASS 87 65 97 302 Bright Str STRINGS 87 66 46
226 Mini Like! SYNTH BASS 87 65 98 303 String Ens STRINGS 87 66 47
227 MC-404 Bass SYNTH BASS 87 65 99 304 SonicStrings STRINGS 87 66 48

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No. Name Category MSB LSB PC No. Name Category MSB LSB PC
305 Stringz 101 STRINGS 87 66 49 382 Tpts & Tmbs AC.BRASS 87 66 126
306 Crossed Bows STRINGS 87 66 50 383 Brass & Sax AC.BRASS 87 66 127
307 Warm Strings STRINGS 87 66 51 384 BrassPartOut AC.BRASS 87 66 128
308 Stacc mp Str STRINGS 87 66 52 385 Simple Tutti AC.BRASS 87 67 1
309 Movie Scene STRINGS 87 66 53 386 F.Horns Sect AC.BRASS 87 67 2
310 Hybrid Str 1 STRINGS 87 66 54 387 Full sForza AC.BRASS 87 67 3
311 Gang Strangs STRINGS 87 66 55 388 Stereo Brass AC.BRASS 87 67 4
312 Clustered!?! STRINGS 87 66 56 389 Wide SynBrss SYNTH BRASS 87 67 5
313 Full Strings STRINGS 87 66 57 390 DetuneSawBrs SYNTH BRASS 87 67 6
314 X StrSection STRINGS 87 66 58 391 J-Pop Brass SYNTH BRASS 87 67 7
315 Oct Strings STRINGS 87 66 59 392 80s Brass 1 SYNTH BRASS 87 67 8
316 Sahara Str STRINGS 87 66 60 393 80s Brass 2 SYNTH BRASS 87 67 9
317 Random Mood STRINGS 87 66 61 394 Ana Brass SYNTH BRASS 87 67 10
318 X Hall Str STRINGS 87 66 62 395 Soft Brass SYNTH BRASS 87 67 11
319 SC Slow Str STRINGS 87 66 63 396 JP8000 Brass SYNTH BRASS 87 67 12
320 Hybrid Str 2 STRINGS 87 66 64 397 Sonic Brass SYNTH BRASS 87 67 13
321 Biggie Bows STRINGS 87 66 65 398 Syn Brass SYNTH BRASS 87 67 14
322 Staccato VS STRINGS 87 66 66 399 Syn Brass 2 SYNTH BRASS 87 67 15
323 So Staccato STRINGS 87 66 67 400 Xpand Brass SYNTH BRASS 87 67 16
324 DelicatePizz STRINGS 87 66 68 401 Xpand Brass2 SYNTH BRASS 87 67 17
325 Vls PizzHall STRINGS 87 66 69 402 Super Saw SYNTH BRASS 87 67 18
326 Orch Pizz STRINGS 87 66 70 403 SoftSynBrass SYNTH BRASS 87 67 19
327 Pizz'Stac VS STRINGS 87 66 71 404 Silky JP SYNTH BRASS 87 67 20
328 Mellow Tron STRINGS 87 66 72 405 Silk Brs Pad SYNTH BRASS 87 67 21
329 Tronic Str STRINGS 87 66 73 406 80s Brass 3 SYNTH BRASS 87 67 22
330 Tape Memory STRINGS 87 66 74 407 X-Saw Brass1 SYNTH BRASS 87 67 23
331 Wind & Str 1 ORCHESTRA 87 66 75 408 Cheesy Brass SYNTH BRASS 87 67 24
332 Wind & Str 2 ORCHESTRA 87 66 76 409 Dual Saw Brs SYNTH BRASS 87 67 25
333 Farewell ORCHESTRA 87 66 77 410 Juno-106 Brs SYNTH BRASS 87 67 26
334 Orch & Horns ORCHESTRA 87 66 78 411 Poly Brass SYNTH BRASS 87 67 27
335 Soft Orch 1 ORCHESTRA 87 66 79 412 Stacked Brs SYNTH BRASS 87 67 28
336 Soft Orch 2 ORCHESTRA 87 66 80 413 Soprano Sax SAX 87 67 29
337 Henry IX ORCHESTRA 87 66 81 414 Solo Sop Sax SAX 87 67 30
338 Ending Scene ORCHESTRA 87 66 82 415 Alto mp SAX 87 67 31
339 Symphonika ORCHESTRA 87 66 83 416 Alto Sax SAX 87 67 32
340 Mix Hit 2 HIT&STAB 87 66 84 417 Solo AltoSax SAX 87 67 33
341 Cheezy Movie HIT&STAB 87 66 85 418 AltoLead Sax SAX 87 67 34
342 Philly Hit HIT&STAB 87 66 86 419 XP TnrBrethy SAX 87 67 35
343 Smear Hit 1 HIT&STAB 87 66 87 420 Tenor Sax SAX 87 67 36
344 Smear Hit 2 HIT&STAB 87 66 88 421 Fat TenorSax SAX 87 67 37
345 Good Old Hit HIT&STAB 87 66 89 422 Baritone Sax SAX 87 67 38
346 Mix Hit 1 HIT&STAB 87 66 90 423 Sax Sect. 1 SAX 87 67 39
347 Lo-Fi Hit HIT&STAB 87 66 91 424 Sax Sect. 2 SAX 87 67 40
348 2ble Action HIT&STAB 87 66 92 425 Horny Sax SAX 87 67 41
349 In da Cave HIT&STAB 87 66 93 426 FXM Alto Sax SAX 87 67 42
350 Housechord HIT&STAB 87 66 94 427 Porta SoloLd HARD LEAD 87 67 43
351 Mod Chord HIT&STAB 87 66 95 428 Porta Lead HARD LEAD 87 67 44
352 Dance Steam HIT&STAB 87 66 96 429 Wind Syn Ld HARD LEAD 87 67 45
353 Good Old Day WIND 87 66 97 430 SC Saw Ld 1 HARD LEAD 87 67 46
354 SC WindWood WIND 87 66 98 431 SC Saw Ld 2 HARD LEAD 87 67 47
355 Clarence.net WIND 87 66 99 432 Juno Lead HARD LEAD 87 67 48
356 SC Oboe WIND 87 66 100 433 Follow Me HARD LEAD 87 67 49
357 Hall Oboe WIND 87 66 101 434 DC Triangle HARD LEAD 87 67 50
358 English Horn WIND 87 66 102 435 Sqr-Seqence HARD LEAD 87 67 51
359 Bassoon WIND 87 66 103 436 Pure Square HARD LEAD 87 67 52
360 SC Flute FLUTE 87 66 104 437 Griggley HARD LEAD 87 67 53
361 Piccolo FLUTE 87 66 105 438 SC LegatoSaw HARD LEAD 87 67 54
362 Andes Mood FLUTE 87 66 106 439 Lone Prophat HARD LEAD 87 67 55
363 HimalayaPipe FLUTE 87 66 107 440 Dual Profs HARD LEAD 87 67 56
364 Solo Tp AC.BRASS 87 66 108 441 Gwyo Press HARD LEAD 87 67 57
365 Horn Chops AC.BRASS 87 66 109 442 Q DualSaws HARD LEAD 87 67 58
366 Flugel Horn AC.BRASS 87 66 110 443 Mogulator Ld HARD LEAD 87 67 59
367 Spit Flugel AC.BRASS 87 66 111 444 DirtyVoltage HARD LEAD 87 67 60
368 Mute Tp /Mod AC.BRASS 87 66 112 445 Clean? HARD LEAD 87 67 61
369 Harmon Mute AC.BRASS 87 66 113 446 Distortion HARD LEAD 87 67 62
370 Soft Tb AC.BRASS 87 66 114 447 SC Syn Ld HARD LEAD 87 67 63
371 Solo Tb AC.BRASS 87 66 115 448 SynLead 0322 HARD LEAD 87 67 64
372 Solo Bone AC.BRASS 87 66 116 449 X-Sink Delay HARD LEAD 87 67 65
373 XP Horn AC.BRASS 87 66 117 450 Destroyed Ld HARD LEAD 87 67 66
374 Grande Tuba AC.BRASS 87 66 118 451 Synchro Lead HARD LEAD 87 67 67
375 SC Tuba AC.BRASS 87 66 119 452 Sync Ld Mono HARD LEAD 87 67 68
376 StackTp Sect AC.BRASS 87 66 120 453 SyncModulate HARD LEAD 87 67 69
377 Tb Section AC.BRASS 87 66 121 454 Distorted MG HARD LEAD 87 67 70
378 TpTb Sect. AC.BRASS 87 66 122 455 SonicVampire HARD LEAD 87 67 71
379 SC Brt Brass AC.BRASS 87 66 123 456 Blue Meanie HARD LEAD 87 67 72
380 SC BrsSect 1 AC.BRASS 87 66 124 457 SC Dist Lead HARD LEAD 87 67 73
381 SC BrsSect 2 AC.BRASS 87 66 125 458 Ringmod Lead HARD LEAD 87 67 74

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No. Name Category MSB LSB PC No. Name Category MSB LSB PC
459 Stimulation HARD LEAD 87 67 75 536 MelodicDrums TECHNO SYNTH 87 68 24
460 BodyElectric HARD LEAD 87 67 76 537 TB Wah TECHNO SYNTH 87 68 25
461 Classic Lead HARD LEAD 87 67 77 538 Waving TB303 TECHNO SYNTH 87 68 26
462 Feat Lead HARD LEAD 87 67 78 539 Digi Seq TECHNO SYNTH 87 68 27
463 Wire Sync HARD LEAD 87 67 79 540 Seq Saw TECHNO SYNTH 87 68 28
464 Epic Lead HARD LEAD 87 67 80 541 Reso Seq Saw TECHNO SYNTH 87 68 29
465 Bag Lead HARD LEAD 87 67 81 542 DetuneSeqSaw TECHNO SYNTH 87 68 30
466 Wezcoast HARD LEAD 87 67 82 543 Technotribe TECHNO SYNTH 87 68 31
467 HyperJupiter HARD LEAD 87 67 83 544 Teethy Grit TECHNO SYNTH 87 68 32
468 Vintagolizer HARD LEAD 87 67 84 545 Repertition TECHNO SYNTH 87 68 33
469 C64 Lead HARD LEAD 87 67 85 546 Killerbeez TECHNO SYNTH 87 68 34
470 303 NRG HARD LEAD 87 67 86 547 Acid Lead TECHNO SYNTH 87 68 35
471 Cell SquLead SOFT LEAD 87 67 87 548 Tranceformer TECHNO SYNTH 87 68 36
472 SC Sqr Lead SOFT LEAD 87 67 88 549 Anadroid TECHNO SYNTH 87 68 37
473 SH Sqr Lead SOFT LEAD 87 67 89 550 Shroomy TECHNO SYNTH 87 68 38
474 Round SQR SOFT LEAD 87 67 90 551 Noize R us TECHNO SYNTH 87 68 39
475 Windy Synth SOFT LEAD 87 67 91 552 Beep Melodie TECHNO SYNTH 87 68 40
476 Sqr Diamond SOFT LEAD 87 67 92 553 Morpher TECHNO SYNTH 87 68 41
477 Sinetific SOFT LEAD 87 67 93 554 Uni-G TECHNO SYNTH 87 68 42
478 PeakArpSine SOFT LEAD 87 67 94 555 Power Synth TECHNO SYNTH 87 68 43
479 Howards Lead SOFT LEAD 87 67 95 556 Hoover Again TECHNO SYNTH 87 68 44
480 SoloNzPeaker SOFT LEAD 87 67 96 557 Alpha Said.. TECHNO SYNTH 87 68 45
481 Juno SftLd SOFT LEAD 87 67 97 558 Ravers Awake TECHNO SYNTH 87 68 46
482 R&B TriLead SOFT LEAD 87 67 98 559 Tekno Gargle TECHNO SYNTH 87 68 47
483 R&B Tri Ld2 SOFT LEAD 87 67 99 560 Tranceiver TECHNO SYNTH 87 68 48
484 Jupiter Lead SOFT LEAD 87 67 100 561 Techno Dream TECHNO SYNTH 87 68 49
485 Dig-n-Duke SOFT LEAD 87 67 101 562 Techno Pizz TECHNO SYNTH 87 68 50
486 SC SoftLead SOFT LEAD 87 67 102 563 VirtualHuman PULSATING 87 68 51
487 Mid Saw Ld SOFT LEAD 87 67 103 564 Strobot PULSATING 87 68 52
488 X-Pulse Lead SOFT LEAD 87 67 104 565 SC Strobe PULSATING 87 68 53
489 Mild 2-SawLd SOFT LEAD 87 67 105 566 Strobe X PULSATING 87 68 54
490 Mew Lead SOFT LEAD 87 67 106 567 Rhythmic 5th PULSATING 87 68 55
491 Shy Soloist SOFT LEAD 87 67 107 568 Cell Pad PULSATING 87 68 56
492 Theramax SOFT LEAD 87 67 108 569 DarknessSide PULSATING 87 68 57
493 Therasqu SOFT LEAD 87 67 109 570 Shape of X PULSATING 87 68 58
494 GR Lead SOFT LEAD 87 67 110 571 Sonic Dance PULSATING 87 68 59
495 SH-2 Lead SOFT LEAD 87 67 111 572 ShapeURMusic PULSATING 87 68 60
496 SC ResoLead SOFT LEAD 87 67 112 573 Synth Force PULSATING 87 68 61
497 Modulated Ld SOFT LEAD 87 67 113 574 Trance Split PULSATING 87 68 62
498 Synthi Fizz SOFT LEAD 87 67 114 575 Step Trance PULSATING 87 68 63
499 Waspy Lead SOFT LEAD 87 67 115 576 Chop Synth PULSATING 87 68 64
500 Pulstar Ld SOFT LEAD 87 67 116 577 Euro Teuro PULSATING 87 68 65
501 Naked Lead SOFT LEAD 87 67 117 578 Auto Trance PULSATING 87 68 66
502 Alpha Spit SOFT LEAD 87 67 118 579 Eureggae PULSATING 87 68 67
503 Vliolin Lead SOFT LEAD 87 67 119 580 Sorry4theDLY PULSATING 87 68 68
504 Mod Lead SOFT LEAD 87 67 120 581 Beat Pad PULSATING 87 68 69
505 JP Saw Lead SOFT LEAD 87 67 121 582 TMT Seq Pad PULSATING 87 68 70
506 Tristar SOFT LEAD 87 67 122 583 ForYourBreak PULSATING 87 68 71
507 Chubby Lead SOFT LEAD 87 67 123 584 HPF Slicer PULSATING 87 68 72
508 Sneaky Leady SOFT LEAD 87 67 124 585 Sliced Choir PULSATING 87 68 73
509 Shaku Lead SOFT LEAD 87 67 125 586 Digi-Doo PULSATING 87 68 74
510 Legato Tkno SOFT LEAD 87 67 126 587 PanningFrmnt PULSATING 87 68 75
511 SCResoSaw Ld SOFT LEAD 87 67 127 588 Dirty Beat PULSATING 87 68 76
512 SliCed Lead SOFT LEAD 87 67 128 589 Electrons PULSATING 87 68 77
513 Mini Growl SOFT LEAD 87 68 1 590 Protons PULSATING 87 68 78
514 Evangelized SOFT LEAD 87 68 2 591 Brisk Vortex PULSATING 87 68 79
515 Air Lead SOFT LEAD 87 68 3 592 SC Throbulax PULSATING 87 68 80
516 Juno-D Maj7 TECHNO SYNTH 87 68 4 593 SC Lonizer PULSATING 87 68 81
517 Sweet House TECHNO SYNTH 87 68 5 594 diGital Pad PULSATING 87 68 82
518 Periscope TECHNO SYNTH 87 68 6 595 StepPitShift PULSATING 87 68 83
519 5th Voice TECHNO SYNTH 87 68 7 596 Pad Pulses PULSATING 87 68 84
520 HPF Sweep TECHNO SYNTH 87 68 8 597 Seq-Pad 2 PULSATING 87 68 85
521 BPF Saw TECHNO SYNTH 87 68 9 598 DSP Chaos PULSATING 87 68 86
522 Moon Synth TECHNO SYNTH 87 68 10 599 Dancefloor PULSATING 87 68 87
523 DelyResoSaws TECHNO SYNTH 87 68 11 600 Minor Thirds PULSATING 87 68 88
524 R-Trance TECHNO SYNTH 87 68 12 601 FX World PULSATING 87 68 89
525 Braatz... TECHNO SYNTH 87 68 13 602 Mr. Fourier PULSATING 87 68 90
526 AllinOneRiff TECHNO SYNTH 87 68 14 603 Nu Trance X PULSATING 87 68 91
527 YZ Again TECHNO SYNTH 87 68 15 604 Auto 5thSaws PULSATING 87 68 92
528 Flazzy Lead TECHNO SYNTH 87 68 16 605 Cross Talk PULSATING 87 68 93
529 Coffee Bee TECHNO SYNTH 87 68 17 606 Reanimation PULSATING 87 68 94
530 SC-303 TECHNO SYNTH 87 68 18 607 VoX Chopper PULSATING 87 68 95
531 Dance Saws TECHNO SYNTH 87 68 19 608 Trevor's Pad PULSATING 87 68 96
532 AluminmWires TECHNO SYNTH 87 68 20 609 Fantomas Pad PULSATING 87 68 97
533 Fred&Barney TECHNO SYNTH 87 68 21 610 Jazzy Arps PULSATING 87 68 98
534 Electrostars TECHNO SYNTH 87 68 22 611 Keep Running PULSATING 87 68 99
535 LoFiSequence TECHNO SYNTH 87 68 23 612 Step In PULSATING 87 68 100

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No. Name Category MSB LSB PC No. Name Category MSB LSB PC
613 Echo Echo PULSATING 87 68 101 690 Steamed Sawz OTHER SYNTH 87 69 50
614 Keep going PULSATING 87 68 102 691 RAVtune OTHER SYNTH 87 69 51
615 Arposphere PULSATING 87 68 103 692 Bustranza OTHER SYNTH 87 69 52
616 Voco Riff PULSATING 87 68 104 693 AftTch Ji-n OTHER SYNTH 87 69 53
617 Pulsator PULSATING 87 68 105 694 JP OctAttack OTHER SYNTH 87 69 54
618 Motion Bass PULSATING 87 68 106 695 Oct Unison OTHER SYNTH 87 69 55
619 Sine Magic PULSATING 87 68 107 696 Xtatic OTHER SYNTH 87 69 56
620 Juno-D Slice PULSATING 87 68 108 697 Dirty Combo OTHER SYNTH 87 69 57
621 Pulsatron PULSATING 87 68 109 698 FM's Attack OTHER SYNTH 87 69 58
622 Mega Sync PULSATING 87 68 110 699 Digi-vox Syn OTHER SYNTH 87 69 59
623 Passing by SYNTH FX 87 68 111 700 Fairy Factor OTHER SYNTH 87 69 60
624 Lazer Points SYNTH FX 87 68 112 701 Tempest OTHER SYNTH 87 69 61
625 Retro Sci-Fi SYNTH FX 87 68 113 702 X-Racer OTHER SYNTH 87 69 62
626 Magic Chime SYNTH FX 87 68 114 703 TB Booster OTHER SYNTH 87 69 63
627 SC Try This! SYNTH FX 87 68 115 704 Syn-Orch/Mod OTHER SYNTH 87 69 64
628 New Planetz SYNTH FX 87 68 116 705 Pressyn OTHER SYNTH 87 69 65
629 Jet Noise SYNTH FX 87 68 117 706 High Five OTHER SYNTH 87 69 66
630 Chaos 2003 SYNTH FX 87 68 118 707 4DaCommonMan OTHER SYNTH 87 69 67
631 Control Room SYNTH FX 87 68 119 708 Orgaenia OTHER SYNTH 87 69 68
632 OutOf sortz SYNTH FX 87 68 120 709 Sleeper OTHER SYNTH 87 69 69
633 Scatter SYNTH FX 87 68 121 710 Sugar Synth OTHER SYNTH 87 69 70
634 Low Beat-S SYNTH FX 87 68 122 711 Ice Palace OTHER SYNTH 87 69 71
635 WaitnOutside SYNTH FX 87 68 123 712 Story Harp OTHER SYNTH 87 69 72
636 Breath Echo SYNTH FX 87 68 124 713 LostParadise OTHER SYNTH 87 69 73
637 SoundStrange SYNTH FX 87 68 125 714 Magnetic 5th OTHER SYNTH 87 69 74
638 Cosmic Pulse SYNTH FX 87 68 126 715 DigimaX OTHER SYNTH 87 69 75
639 Faked Piano SYNTH FX 87 68 127 716 Exhale OTHER SYNTH 87 69 76
640 SC Crystal SYNTH FX 87 68 128 717 X-panda OTHER SYNTH 87 69 77
641 ResoSweep Dn SYNTH FX 87 69 1 718 Saw Keystep OTHER SYNTH 87 69 78
642 Zap B3 & C4 SYNTH FX 87 69 2 719 4mant Cycle OTHER SYNTH 87 69 79
643 PolySweep Nz SYNTH FX 87 69 3 720 Modular OTHER SYNTH 87 69 80
644 Strange Land SYNTH FX 87 69 4 721 Angel Pipes OTHER SYNTH 87 69 81
645 S&H Voc SYNTH FX 87 69 5 722 Wired Synth OTHER SYNTH 87 69 82
646 12th Planet SYNTH FX 87 69 6 723 Analog Dream OTHER SYNTH 87 69 83
647 Scare SYNTH FX 87 69 7 724 DCO Bell Pad OTHER SYNTH 87 69 84
648 Hillside SYNTH FX 87 69 8 725 Cell Fanta OTHER SYNTH 87 69 85
649 Mod Scanner SYNTH FX 87 69 9 726 Juno 5th OTHER SYNTH 87 69 86
650 SoundOnSound SYNTH FX 87 69 10 727 DoubleBubble OTHER SYNTH 87 69 87
651 Gasp SYNTH FX 87 69 11 728 Cell Comb BRIGHT PAD 87 69 88
652 ResoSweep Up SYNTH FX 87 69 12 729 Super SynStr BRIGHT PAD 87 69 89
653 Magic Wave SYNTH FX 87 69 13 730 80s Str BRIGHT PAD 87 69 90
654 Shangri-La SYNTH FX 87 69 14 731 PhaseStrings BRIGHT PAD 87 69 91
655 CerealKiller SYNTH FX 87 69 15 732 Voyager BRIGHT PAD 87 69 92
656 Cosmic Drops SYNTH FX 87 69 16 733 Cosmic Rays BRIGHT PAD 87 69 93
657 Space Echo SYNTH FX 87 69 17 734 Stringship BRIGHT PAD 87 69 94
658 Robot Sci-Fi SYNTH FX 87 69 18 735 Fat Stacks BRIGHT PAD 87 69 95
659 Stacc Heaven OTHER SYNTH 87 69 19 736 Strings R Us BRIGHT PAD 87 69 96
660 Juno Poly OTHER SYNTH 87 69 20 737 Electric Pad BRIGHT PAD 87 69 97
661 DigitalDream OTHER SYNTH 87 69 21 738 Neo RS-202 BRIGHT PAD 87 69 98
662 Jucy Saw OTHER SYNTH 87 69 22 739 OB Rezo Pad BRIGHT PAD 87 69 99
663 Cue Tip OTHER SYNTH 87 69 23 740 Synthi Ens BRIGHT PAD 87 69 100
664 Waspy Synth OTHER SYNTH 87 69 24 741 Giant Sweep BRIGHT PAD 87 69 101
665 TB-Sequence OTHER SYNTH 87 69 25 742 Mod Dare BRIGHT PAD 87 69 102
666 Europe Xpres OTHER SYNTH 87 69 26 743 Cell Space BRIGHT PAD 87 69 103
667 Squeepy OTHER SYNTH 87 69 27 744 Digi-Swell BRIGHT PAD 87 69 104
668 DOC Stack OTHER SYNTH 87 69 28 745 Sonic Surfer BRIGHT PAD 87 69 105
669 Sweep Lead OTHER SYNTH 87 69 29 746 New Year Day BRIGHT PAD 87 69 106
670 80s Saws 1 OTHER SYNTH 87 69 30 747 Polar Morn BRIGHT PAD 87 69 107
671 80s Saws 2 OTHER SYNTH 87 69 31 748 Distant Sun BRIGHT PAD 87 69 108
672 80s Saws 3 OTHER SYNTH 87 69 32 749 PG Chimes BRIGHT PAD 87 69 109
673 Digitaless OTHER SYNTH 87 69 33 750 Saturn Rings BRIGHT PAD 87 69 110
674 Flip Pad OTHER SYNTH 87 69 34 751 Brusky BRIGHT PAD 87 69 111
675 Short Detune OTHER SYNTH 87 69 35 752 2 Point 2 BRIGHT PAD 87 69 112
676 forSequence OTHER SYNTH 87 69 36 753 2.2 Pad BRIGHT PAD 87 69 113
677 Memory Pluck OTHER SYNTH 87 69 37 754 two.two Pad BRIGHT PAD 87 69 114
678 Metalic Bass OTHER SYNTH 87 69 38 755 SaturnHolida BRIGHT PAD 87 69 115
679 Aqua OTHER SYNTH 87 69 39 756 Neuro-Drone BRIGHT PAD 87 69 116
680 Big Planet OTHER SYNTH 87 69 40 757 In The Pass BRIGHT PAD 87 69 117
681 Wet Atax OTHER SYNTH 87 69 41 758 Polar Night BRIGHT PAD 87 69 118
682 Houze Clavi OTHER SYNTH 87 69 42 759 Cell 5th BRIGHT PAD 87 69 119
683 SuperSawSlow OTHER SYNTH 87 69 43 760 MistOver5ths BRIGHT PAD 87 69 120
684 Cell Trance OTHER SYNTH 87 69 44 761 Gritty Pad BRIGHT PAD 87 69 121
685 Trancy X OTHER SYNTH 87 69 45 762 India Garden BRIGHT PAD 87 69 122
686 Trancy Synth OTHER SYNTH 87 69 46 763 BillionStars BRIGHT PAD 87 69 123
687 Juno Trnce OTHER SYNTH 87 69 47 764 Sand Pad BRIGHT PAD 87 69 124
688 Saw Stack OTHER SYNTH 87 69 48 765 ReverseSweep BRIGHT PAD 87 69 125
689 Frgile Saws OTHER SYNTH 87 69 49 766 HugeSoundMod BRIGHT PAD 87 69 126

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No. Name Category MSB LSB PC No. Name Category MSB LSB PC
767 Metal Swell BRIGHT PAD 87 69 127 844 Paradise VOX 87 70 76
768 NuSoundtrack BRIGHT PAD 87 69 128 845 Sad ceremony VOX 87 70 77
769 Phat Strings BRIGHT PAD 87 70 1 846 Lost Voices VOX 87 70 78
770 Soft OB Pad SOFT PAD 87 70 2 847 Jazz Doos VOX 87 70 79
771 SC Hollow SOFT PAD 87 70 3 848 Beat Vox VOX 87 70 80
772 SC Sqr Pad SOFT PAD 87 70 4 849 Talk 2 Me VOX 87 70 81
773 Silk Pad SOFT PAD 87 70 5 850 FM Vox VOX 87 70 82
774 WarmReso Pad SOFT PAD 87 70 6 851 Let's Talk! VOX 87 70 83
775 SC Soft Pad SOFT PAD 87 70 7 852 Nice Kalimba PLUCKED 87 70 84
776 Air Pad SOFT PAD 87 70 8 853 Quiet River PLUCKED 87 70 85
777 Soft Breeze SOFT PAD 87 70 9 854 Teky Drop PLUCKED 87 70 86
778 JP Strings 1 SOFT PAD 87 70 10 855 Pat is away PLUCKED 87 70 87
779 JP Strings 2 SOFT PAD 87 70 11 856 SC Sitar 1 PLUCKED 87 70 88
780 DelayStrings SOFT PAD 87 70 12 857 SC Sitar 2 PLUCKED 87 70 89
781 NorthStrings SOFT PAD 87 70 13 858 Sitar on C PLUCKED 87 70 90
782 SC Syn Str SOFT PAD 87 70 14 859 Sitar Baby PLUCKED 87 70 91
783 Slow Saw Str SOFT PAD 87 70 15 860 Elec Sitar PLUCKED 87 70 92
784 Syn Strings SOFT PAD 87 70 16 861 Neo Sitar PLUCKED 87 70 93
785 OB Slow Str SOFT PAD 87 70 17 862 SaraswatiRvr PLUCKED 87 70 94
786 Strings Pad SOFT PAD 87 70 18 863 Bosporus PLUCKED 87 70 95
787 R&B SoftPad SOFT PAD 87 70 19 864 Santur Stack PLUCKED 87 70 96
788 Reso Pad SOFT PAD 87 70 20 865 Aerial Harp PLUCKED 87 70 97
789 Phat Pad SOFT PAD 87 70 21 866 Harpiness PLUCKED 87 70 98
790 SC PhaserPad SOFT PAD 87 70 22 867 Skydiver PLUCKED 87 70 99
791 Mystic Str SOFT PAD 87 70 23 868 TroubadorEns PLUCKED 87 70 100
792 Glass Organ SOFT PAD 87 70 24 869 Jamisen PLUCKED 87 70 101
793 Wind Pad SOFT PAD 87 70 25 870 Koto PLUCKED 87 70 102
794 Combination SOFT PAD 87 70 26 871 Monsoon PLUCKED 87 70 103
795 HumanKindnes SOFT PAD 87 70 27 872 Bend Koto PLUCKED 87 70 104
796 BeautyPad SOFT PAD 87 70 28 873 LongDistance ETHNIC 87 70 105
797 Atmospherics SOFT PAD 87 70 29 874 Ambi Shaku ETHNIC 87 70 106
798 Terra Nostra SOFT PAD 87 70 30 875 SC Lochscape ETHNIC 87 70 107
799 OB Aaahs SOFT PAD 87 70 31 876 SC PipeDream ETHNIC 87 70 108
800 Vulcano Pad SOFT PAD 87 70 32 877 SC Far East ETHNIC 87 70 109
801 Cloud #9 SOFT PAD 87 70 33 878 Banjo FRETTED 87 70 110
802 Organic Pad SOFT PAD 87 70 34 879 Timpani+Low PERCUSSION 87 70 111
803 Hum Pad SOFT PAD 87 70 35 880 Timpani Roll PERCUSSION 87 70 112
804 Vox Pad SOFT PAD 87 70 36 881 Bass Drum PERCUSSION 87 70 113
805 Digital Aahs SOFT PAD 87 70 37 882 Ambidextrous SOUND FX 87 70 114
806 Tri 5th Pad SOFT PAD 87 70 38 883 En-co-re SOUND FX 87 70 115
807 SC MovinPad SOFT PAD 87 70 39 884 Mobile Phone SOUND FX 87 70 116
808 Seq-Pad 1 SOFT PAD 87 70 40 885 ElectroDisco BEAT&GROOVE 87 70 117
809 Follow SOFT PAD 87 70 41 886 Groove 007 BEAT&GROOVE 87 70 118
810 Consolament SOFT PAD 87 70 42 887 In Da Groove BEAT&GROOVE 87 70 119
811 Spacious Pad SOFT PAD 87 70 43 888 Sweet 80s BEAT&GROOVE 87 70 120
812 JD Pop Pad SOFT PAD 87 70 44 889 Autotrance BEAT&GROOVE 87 70 121
813 JP-8 Phase SOFT PAD 87 70 45 890 Juno Pop BEAT&GROOVE 87 70 122
814 Nu Epic Pad SOFT PAD 87 70 46 891 Compusonic 1 BEAT&GROOVE 87 70 123
815 Forever SOFT PAD 87 70 47 892 Compusonic 2 BEAT&GROOVE 87 70 124
816 Flange Dream SOFT PAD 87 70 48 893 80s Combo COMBINATION 87 70 125
817 Evolution X SOFT PAD 87 70 49 894 Analog Days COMBINATION 87 70 126
818 Heaven Pad SOFT PAD 87 70 50 895 Techno Craft COMBINATION 87 70 127
819 Angelis Pad SOFT PAD 87 70 51 896 Lounge Kit COMBINATION 87 70 128
820 Juno-106 Str SOFT PAD 87 70 52 897 Piano 1 AC.PIANO 121 0 1
821 JupiterMoves SOFT PAD 87 70 53 898 Piano 1w AC.PIANO 121 1
822 Oceanic Pad SOFT PAD 87 70 54 899 European Pf AC.PIANO 121 2
823 Fairy's Song SOFT PAD 87 70 55 900 Piano 2 AC.PIANO 121 0 2
824 Borealis SOFT PAD 87 70 56 901 Piano 2w AC.PIANO 121 1
825 JX Warm Pad SOFT PAD 87 70 57 902 Piano 3 AC.PIANO 121 0 3
826 Analog Bgrnd SOFT PAD 87 70 58 903 Piano 3w AC.PIANO 121 1
827 Choir Aahs 1 VOX 87 70 59 904 Honky-tonk AC.PIANO 121 0 4
828 Choir Aahs 2 VOX 87 70 60 905 Honky-tonk 2 AC.PIANO 121 4
829 ChoirOoh/Aft VOX 87 70 61 906 E.Piano 1 EL.PIANO 121 0 5
830 Angels Choir VOX 87 70 62 907 St.Soft EP EL.PIANO 121 1
831 Angelique VOX 87 70 63 908 FM+SA EP EL.PIANO 121 2
832 Gospel Oohs VOX 87 70 64 909 Wurly EL.PIANO 121 3
833 Choir&Str VOX 87 70 65 910 E.Piano 2 EL.PIANO 121 0 6
834 Aah Vox VOX 87 70 66 911 Detuned EP 2 EL.PIANO 121 1
835 Synvox VOX 87 70 67 912 St.FM EP EL.PIANO 121 2
836 Uhmmm VOX 87 70 68 913 EP Legend EL.PIANO 121 3
837 Morning Star VOX 87 70 69 914 EP Phase EL.PIANO 121 4
838 Syn Opera VOX 87 70 70 915 Harpsichord KEYBOARDS 121 0 7
839 BeautifulOne VOX 87 70 71 916 Coupled Hps. KEYBOARDS 121 1
840 Ooze VOX 87 70 72 917 Harpsi.w KEYBOARDS 121 2
841 Aerial Choir VOX 87 70 73 918 Harpsi.o KEYBOARDS 121 3
842 3D Vox VOX 87 70 74 919 Clav. KEYBOARDS 121 0 8
843 Film Cue VOX 87 70 75 920 Pulse Clav KEYBOARDS 121 1

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No. Name Category MSB LSB PC No. Name Category MSB LSB PC
921 Celesta KEYBOARDS 121 0 9 998 Yang Qin PLUCKED 121 1
922 Glockenspiel BELL 121 0 10 999 Timpani PERCUSSION 121 0 48
923 Music Box BELL 121 0 11 1000 Strings STRINGS 121 0 49
924 Vibraphone MALLET 121 0 12 1001 Orchestra ORCHESTRA 121 1
925 Vibraphone w MALLET 121 1 1002 60s Strings STRINGS 121 2
926 Marimba MALLET 121 0 13 1003 Slow Strings STRINGS 121 0 50
927 Marimba w MALLET 121 1 1004 Syn.Strings1 STRINGS 121 0 51
928 Xylophone MALLET 121 0 14 1005 Syn.Strings3 STRINGS 121 1
929 Tubular-bell BELL 121 0 15 1006 Syn.Strings2 SOFT PAD 121 0 52
930 Church Bell BELL 121 1 1007 Choir Aahs VOX 121 0 53
931 Carillon BELL 121 2 1008 Chorus Aahs VOX 121 1
932 Santur PLUCKED 121 0 16 1009 Voice Oohs VOX 121 0 54
933 Organ 1 ORGAN 121 0 17 1010 Humming VOX 121 1
934 Trem. Organ ORGAN 121 1 1011 SynVox VOX 121 0 55
935 60's Organ 1 ORGAN 121 2 1012 Analog Voice VOX 121 1
936 70's E.Organ ORGAN 121 3 1013 OrchestraHit HIT&STAB 121 0 56
937 Organ 2 ORGAN 121 0 18 1014 Bass Hit HIT&STAB 121 1
938 Chorus Or.2 ORGAN 121 1 1015 6th Hit HIT&STAB 121 2
939 Perc. Organ ORGAN 121 2 1016 Euro Hit HIT&STAB 121 3
940 Organ 3 ORGAN 121 0 19 1017 Trumpet AC.BRASS 121 0 57
941 Church Org.1 ORGAN 121 0 20 1018 Dark Trumpet AC.BRASS 121 1
942 Church Org.2 ORGAN 121 1 1019 Trombone AC.BRASS 121 0 58
943 Church Org.3 ORGAN 121 2 1020 Trombone 2 AC.BRASS 121 1
944 Reed Organ ORGAN 121 0 21 1021 Bright Tb AC.BRASS 121 2
945 Puff Organ ORGAN 121 1 1022 Tuba AC.BRASS 121 0 59
946 Accordion Fr ACCRDION 121 0 22 1023 MutedTrumpet AC.BRASS 121 0 60
947 Accordion It ACCRDION 121 1 1024 MuteTrumpet2 AC.BRASS 121 1
948 Harmonica HARMONICA 121 0 23 1025 French Horns AC.BRASS 121 0 61
949 Bandoneon ACCRDION 121 0 24 1026 Fr.Horn 2 AC.BRASS 121 1
950 Nylon-str.Gt AC.GUITAR 121 0 25 1027 Brass 1 AC.BRASS 121 0 62
951 Ukulele AC.GUITAR 121 1 1028 Brass 2 AC.BRASS 121 1
952 Nylon Gt.o AC.GUITAR 121 2 1029 Synth Brass1 SYNTH BRASS 121 0 63
953 Nylon Gt.2 AC.GUITAR 121 3 1030 JP Brass SYNTH BRASS 121 1
954 Steel-str.Gt AC.GUITAR 121 0 26 1031 Oct SynBrass SYNTH BRASS 121 2
955 12-str.Gt AC.GUITAR 121 1 1032 Jump Brass SYNTH BRASS 121 3
956 Mandolin AC.GUITAR 121 2 1033 Synth Brass2 SYNTH BRASS 121 0 64
957 Steel + Body AC.GUITAR 121 3 1034 SynBrass sfz SYNTH BRASS 121 1
958 Jazz Gt. EL.GUITAR 121 0 27 1035 Velo Brass 1 SYNTH BRASS 121 2
959 Pedal Steel EL.GUITAR 121 1 1036 Soprano Sax SAX 121 0 65
960 Clean Gt. EL.GUITAR 121 0 28 1037 Alto Sax SAX 121 0 66
961 Chorus Gt. EL.GUITAR 121 1 1038 Tenor Sax SAX 121 0 67
962 Mid Tone GTR EL.GUITAR 121 2 1039 Baritone Sax SAX 121 0 68
963 Muted Gt. EL.GUITAR 121 0 29 1040 Oboe WIND 121 0 69
964 Funk Pop EL.GUITAR 121 1 1041 English Horn WIND 121 0 70
965 Funk Gt.2 EL.GUITAR 121 2 1042 Bassoon WIND 121 0 71
966 Jazz Man EL.GUITAR 121 3 1043 Clarinet WIND 121 0 72
967 Overdrive Gt DIST.GUITAR 121 0 30 1044 Piccolo FLUTE 121 0 73
968 Guitar Pinch DIST.GUITAR 121 1 1045 Flute FLUTE 121 0 74
969 DistortionGt DIST.GUITAR 121 0 31 1046 Recorder FLUTE 121 0 75
970 Feedback Gt. DIST.GUITAR 121 1 1047 Pan Flute FLUTE 121 0 76
971 Dist Rtm GTR DIST.GUITAR 121 2 1048 Bottle Blow FLUTE 121 0 77
972 Gt.Harmonics EL.GUITAR 121 0 32 1049 Shakuhachi ETHNIC 121 0 78
973 Gt. Feedback EL.GUITAR 121 1 1050 Whistle FLUTE 121 0 79
974 Acoustic Bs. BASS 121 0 33 1051 Ocarina FLUTE 121 0 80
975 Fingered Bs. BASS 121 0 34 1052 Square Wave HARD LEAD 121 0 81
976 Finger Slap BASS 121 1 1053 MG Square HARD LEAD 121 1
977 Picked Bass BASS 121 0 35 1054 2600 Sine HARD LEAD 121 2
978 Fretless Bs. BASS 121 0 36 1055 Saw Wave HARD LEAD 121 0 82
979 Slap Bass 1 BASS 121 0 37 1056 OB2 Saw HARD LEAD 121 1
980 Slap Bass 2 BASS 121 0 38 1057 Doctor Solo HARD LEAD 121 2
981 Synth Bass 1 SYNTH BASS 121 0 39 1058 Natural Lead HARD LEAD 121 3
982 SynthBass101 SYNTH BASS 121 1 1059 SequencedSaw HARD LEAD 121 4
983 Acid Bass SYNTH BASS 121 2 1060 Syn.Calliope SOFT LEAD 121 0 83
984 Clavi Bass SYNTH BASS 121 3 1061 Chiffer Lead SOFT LEAD 121 0 84
985 Hammer SYNTH BASS 121 4 1062 Charang HARD LEAD 121 0 85
986 Synth Bass 2 SYNTH BASS 121 0 40 1063 Wire Lead HARD LEAD 121 1
987 Beef FM Bass SYNTH BASS 121 1 1064 Solo Vox SOFT LEAD 121 0 86
988 RubberBass 2 SYNTH BASS 121 2 1065 5th Saw Wave HARD LEAD 121 0 87
989 Attack Pulse SYNTH BASS 121 3 1066 Bass & Lead HARD LEAD 121 0 88
990 Violin STRINGS 121 0 41 1067 Delayed Lead HARD LEAD 121 1
991 Slow Violin STRINGS 121 1 1068 Fantasia OTHER SYNTH 121 0 89
992 Viola STRINGS 121 0 42 1069 Warm Pad SOFT PAD 121 0 90
993 Cello STRINGS 121 0 43 1070 Sine Pad SOFT PAD 121 1
994 Contrabass STRINGS 121 0 44 1071 Polysynth OTHER SYNTH 121 0 91
995 Tremolo Str STRINGS 121 0 45 1072 Space Voice VOX 121 0 92
996 PizzicatoStr STRINGS 121 0 46 1073 Itopia VOX 121 1
997 Harp PLUCKED 121 0 47 1074 Bowed Glass SOFT PAD 121 0 93

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No. Name Category MSB LSB PC No. Name Category MSB LSB PC
1075 Metal Pad BRIGHT PAD 121 0 94 1152 Explosion SOUND FX 121 3
1076 Halo Pad BRIGHT PAD 121 0 95 1153 GW Std Kit RHYTHM 86 64 1
1077 Sweep Pad SOFT PAD 121 0 96 1154 WD Std Kit RHYTHM 86 64 2
1078 Ice Rain OTHER SYNTH 121 0 97 1155 LD Std Kit RHYTHM 86 64 3
1079 Soundtrack SOFT PAD 121 0 98 1156 TY Std Kit RHYTHM 86 64 4
1080 Crystal BELL 121 0 99 1157 StandardKit1 RHYTHM 86 64 5
1081 Syn Mallet BELL 121 1 1158 StandardKit2 RHYTHM 86 64 6
1082 Atmosphere AC.GUITAR 121 0 100 1159 StandardKit3 RHYTHM 86 64 7
1083 Brightness OTHER SYNTH 121 0 101 1160 Rock Kit 1 RHYTHM 86 64 8
1084 Goblin PULSATING 121 0 102 1161 Rock Kit 2 RHYTHM 86 64 9
1085 Echo Drops BRIGHT PAD 121 0 103 1162 Brush Jz Kit RHYTHM 86 64 10
1086 Echo Bell BRIGHT PAD 121 1 1163 Orch Kit RHYTHM 86 64 11
1087 Echo Pan BRIGHT PAD 121 2 1164 909 808 Kit RHYTHM 86 64 12
1088 Star Theme BRIGHT PAD 121 0 104 1165 Limiter Kit RHYTHM 86 64 13
1089 Sitar PLUCKED 121 0 105 1166 HipHop Kit 1 RHYTHM 86 64 14
1090 Sitar 2 PLUCKED 121 1 1167 R&B Kit RHYTHM 86 64 15
1091 Banjo FRETTED 121 0 106 1168 HiFi R&B Kit RHYTHM 86 64 16
1092 Shamisen PLUCKED 121 0 107 1169 Machine Kit1 RHYTHM 86 64 17
1093 Koto PLUCKED 121 0 108 1170 Kit-Euro:POP RHYTHM 86 64 18
1094 Taisho Koto PLUCKED 121 1 1171 House Kit RHYTHM 86 64 19
1095 Kalimba PLUCKED 121 0 109 1172 Nu Technica RHYTHM 86 64 20
1096 Bagpipe ETHNIC 121 0 110 1173 Machine Kit2 RHYTHM 86 64 21
1097 Fiddle STRINGS 121 0 111 1174 ArtificalKit RHYTHM 86 64 22
1098 Shanai ETHNIC 121 0 112 1175 Noise Kit RHYTHM 86 64 23
1099 Tinkle Bell BELL 121 0 113 1176 Kick Menu RHYTHM 86 64 24
1100 Agogo PERCUSSION 121 0 114 1177 Snare Menu RHYTHM 86 64 25
1101 Steel Drums MALLET 121 0 115 1178 Snr/Rim Menu RHYTHM 86 64 26
1102 Woodblock PERCUSSION 121 0 116 1179 HiHat Menu RHYTHM 86 64 27
1103 Castanets PERCUSSION 121 1 1180 Tom Menu RHYTHM 86 64 28
1104 Taiko PERCUSSION 121 0 117 1181 Clp&Cym&Hit RHYTHM 86 64 29
1105 Concert BD PERCUSSION 121 1 1182 FX/SFX Menu RHYTHM 86 64 30
1106 Melo. Tom 1 PERCUSSION 121 0 118 1183 Percussion RHYTHM 86 64 31
1107 Melo. Tom 2 PERCUSSION 121 1 1184 Scrh&Voi&Wld RHYTHM 86 64 32
1108 Synth Drum PERCUSSION 121 0 119 1185 GM2 STANDARD RHYTHM 120 0 1
1109 808 Tom PERCUSSION 121 1 1186 GM2 ROOM RHYTHM 120 0 9
1110 Elec Perc PERCUSSION 121 1 1187 GM2 POWER RHYTHM 120 0 17
1111 Reverse Cym. PERCUSSION 121 0 120 1188 GM2 ELECTRIC RHYTHM 120 0 25
1112 Gt.FretNoise AC.GUITAR 121 0 121 1189 GM2 ANALOG RHYTHM 120 0 26
1113 Gt.Cut Noise AC.GUITAR 121 1 1190 GM2 JAZZ RHYTHM 120 0 33
1114 String Slap AC.GUITAR 121 2 1191 GM2 BRUSH RHYTHM 120 0 41
1115 Breath Noise SYNTH FX 121 0 122 1192 GM2 ORCHSTRA RHYTHM 120 0 49
1116 Fl.Key Click SYNTH FX 121 1 1193 GM2 SFX RHYTHM 120 0 57
1117 Seashore SOUND FX 121 0 123
1118 Rain SOUND FX 121 1
1119 Thunder SOUND FX 121 2
1120 Wind SOUND FX 121 3
1121 Stream SOUND FX 121 4
1122 Bubble SOUND FX 121 5
1123 Bird SOUND FX 121 0 124
1124 Dog SOUND FX 121 1
1125 Horse-Gallop SOUND FX 121 2
1126 Bird 2 SOUND FX 121 3
1127 Telephone 1 SOUND FX 121 0 125
1128 Telephone 2 SOUND FX 121 1
1129 DoorCreaking SOUND FX 121 2
1130 Door SOUND FX 121 3
1131 Scratch SOUND FX 121 4
1132 Wind Chimes SOUND FX 121 5
1133 Helicopter SOUND FX 121 0 126
1134 Car-Engine SOUND FX 121 1
1135 Car-Stop SOUND FX 121 2
1136 Car-Pass SOUND FX 121 3
1137 Car-Crash SOUND FX 121 4
1138 Siren SOUND FX 121 5
1139 Train SOUND FX 121 6
1140 Jetplane SOUND FX 121 7
1141 Starship SOUND FX 121 8
1142 Burst Noise SOUND FX 121 9
1143 Applause SOUND FX 121 0 127
1144 Laughing SOUND FX 121 1
1145 Screaming SOUND FX 121 2
1146 Punch SOUND FX 121 3
1147 Heart Beat SOUND FX 121 4
1148 Footsteps SOUND FX 121 5
1149 Gun Shot SOUND FX 121 0 128
1150 Machine Gun SOUND FX 121 1
1151 Lasergun SOUND FX 121 2

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Rhythm Set List

Preset Group GM Group

Tone No Name Tone No Name
1153 GW Std Kit 1185 GM2 STANDARD
1154 WD Std Kit 1186 GM2 ROOM
1155 LD Std Kit 1187 GM2 POWER
1156 TY Std Kit 1188 GM2 ELECTRIC
1157 StandardKit1 1189 GM2 ANALOG
1158 StandardKit2 1190 GM2 JAZZ
1159 StandardKit3 1191 GM2 BRUSH
1160 Rock Kit 1 1192 GM2 ORCHSTRA
1161 Rock Kit 2 1193 GM2 SFX
1162 Brush Jz Kit
1163 Orch Kit
1164 909 808 Kit
1165 Limiter Kit
1166 HipHop Kit 1
1167 R&B Kit
1168 HiFi R&B Kit
1169 Machine Kit1
1170 Kit-Euro:POP
1171 House Kit
1172 Nu Technica
1173 Machine Kit2
1174 ArtificalKit
1175 Noise Kit
1176 Kick Menu
1177 Snare Menu
1178 Snr/Rim Menu
1179 HiHat Menu
1180 Tom Menu
1181 Clp&Cym&Hit
1182 FX/SFX Menu
1183 Percussion
1184 Scrh&Voi&Wld

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Preset Group
Note No. 1153 1154 1155 1156 1157 1158
GW Std Kit WD Std Kit LD Std Kit TY Std Kit StandardKit1 StandardKit2
28 Dance Kick Dance Kick Dance Kick Dance Kick MaxLow Kick2 Dance Kick
Dry Kick 1 Dry Kick 1 Dry Kick 1 Dry Kick 1 Rk CmpKick Dry Kick 1
29
30 Snr Roll Snr Roll Snr Roll Snr Roll Gospel Clap Snr Roll
31 Power Kick Power Kick Power Kick Power Kick Sweep Bass Power Kick
32 Amb.Snr 2 Amb.Snr 2 Amb.Snr 2 Amb.Snr2 p Sft Snr Gst Amb.Snr 2p
33 Power Kick Reg.Kick 2 Reg.Kick 2 Power Kick HipHop Kick2 Power Kick
34 Reg.PHH Reg.PHH Reg.PHH Reg.PHH Reg.PHH Reg.PHH
35 Reg.Kick Reg.Kick 1 Reg.Kick 1 Reg.Kick Reg.Kick 1 Reg.Kick 1
C2 36 SF Kick 1 WD Kick LD Kick TY Kick Reg.Kick 2 Reg.Kick 2
37 SF CStk WD CStk LD CStk TY CStk Reg.Stick Wild Stick
38 SF Snr WD Snr LD Snr TY Snr Reg.Snr 2 Amb.Snr 1
39 SF Snr Gst SF Snr Gst Reg.Snr Gst SF SnrGst Reg.Snr Gst Reg.Snr Gst
40 SF Rim WD Rim LD Rim TY Rim Reg.Snr 1 Amb.Snr 2
RR F.Tom RR F.Tom RR F.Tom RR F.Tom Reg.F.Tom Reg.F.Tom
41
42 Reg.CHH 1 Reg.CHH 1 Reg.CHH 1 Reg.CHH 1 Reg.CHH 1 Reg.CHH 1
43 SF L.Tom TY L.Tom LD L.Tom TY L.Tom Reg.L.Tom Reg.L.Tom
44 Reg.CHH 2 Reg.CHH 2 Reg.CHH 2 Reg.CHH 2 Reg.CHH 2 Reg.CHH 2
45 SF M.Tom TY M.Tom LD M.Tom TY M.Tom Reg.M.Tom 1 Reg.M.Tom
46 Reg.OHH Reg.OHH Reg.OHH Reg.OHH Reg.OHH Reg.OHH
47 SF MT Flm TY M.Tom LD M.Tom TY M.Tom Reg.M.Tom 2 Reg.M.TomFlm
C3 48 SF H.Tom TY H.Tom LD H.Tom TY H.Tom Reg.H.Tom 1 Reg.H.Tom
49 Crash Cym1a Crash Cym1a Crash Cym1a Crash Cym 2 Crash Cym1 Crash Cym1a
50 SF HT Flm TY H.Tom LD H.Tom TY H.Tom Reg.H.Tom 2 Reg.H.TomFlm
51 Rock Ride 1 Rock Ride 1 Rock Ride 1 Rock Ride 1 Rock Ride Rock Ride 1
52 China Cymbal China Cymbal China Cymbal China Cymbal China Cymbal China Cymbal
Splash Cym Splash Cym Splash Cym Splash Cym Ride Edge Splash Cym
53
54 Tamborine2 Tamborine 3 Tamborine 3 Tamborine2 Tamborine Tamborine
55 Rock Crash 1 Rock Crash 1 Rock Crash 1 Crash Cym1a Crash Cym2a Rock Crash 1
56 Cowbell3 Cowbell3 Cowbell3 Cowbell3 Cowbell Low Cowbell Hi
57 Crash Cym1b Crash Cym1b Crash Cym1 Crash Cym1b Crash Cym2b Crash Cym1b
58 Cowbell2 Lng Cowbell2 Lng Cowbell Cowbell2 Lng Cowbell Hi Cowbell Low
59
Rock Ride 2 Rock Ride 2 Rock Ride 2 Rock Ride 2 Ride Bell Rock Ride 2
C4 60 Conga 2H Mt Conga Hi Mt Conga 2H Mt Conga 2H Mt Conga Hi Mt Conga Hi Mt
61 Conga 2L Mt Conga Lo Mt Conga 2L Mt Conga 2L Mt Conga Lo Mt Conga Lo Mt
62 Conga 2H Slp Conga Hi Slp Conga 2H Slp Conga 2H Slp Conga Lo Conga Hi Slp
63 Conga 2H Op Conga Hi Op Conga 2H Op Conga 2H Op Conga Hi Op Conga Hi Op
64 Conga 2L Op Conga Lo Op Conga Lo Op Conga 2L Op Conga Lo Op Conga Lo Op
Timbare 4 Timbale Hi Timbale 1 Timbare 4 Timbale Hi Timbale Hi
65
66 Timbare 3 Timbale Low Timbale 2 Timbare 3 Timbale Low Timbale Low
67 Agogo 2 Hi Mild Agogo H Agogo 2 Hi Agogo 2 Hi Agogo Bell H Mild Agogo H
68 Agogo 2 Low Mild Agogo L Agogo 2 Low Agogo 2 Low Agogo Bell L Mild Agogo L
69 Cabasa 2 Cabasa Up Cabasa 2 Cabasa 2 Cabasa Up Cabasa Up
70 Shaker 2 Maracas Shaker 2 Shaker 1 Maracas Maracas
71 Whistle Shrt Whistle Shrt Whistle Shrt Whistle Shrt Whistle Shrt Whistle Shrt
C5 72 Whistle Long Whistle Long Whistle Whistle Long Whistle Long Whistle Long
73 Guiro 2 Up Guiro Short Guiro 2 Up Guiro 2 Up Guiro Short Guiro Short
74 Guiro 2 Down Guiro Long Guiro Long Guiro 2 Down Guiro Long Guiro Long
75 Claves 2 Claves Claves 2 Claves 2 Claves Claves
76 Wood Block2H Wood Block H Wood Block2H Wood Block2H Wood Block H Wood Block H
Wood Block2L Wood Block L Wood Block2L Wood Block2L Wood Block L Wood Block L
77
78 Cuica 2 Low Cuica Mute Cuica 2 Low Cuica 2 Low Cuica Mute Cuica Mute
79 Cuica 2 Hi Cuica Open Cuica 2 Hi Cuica 2 Hi Cuica Open Cuica Open
80 Triangle Mt Triangle Mt Triangle Mt Triangle Mt Triangle Mt Triangle Mt
81 Triangle Op Triangle Op Triangle Op Triangle Op Triangle Op Triangle Op
82 Cabasa2 Cut Cabasa Cut Cabasa2 Cut Cabasa2 Cut Cabasa Cut Cabasa Cut
83
DigiSpectrum DigiSpectrum DigiSpectrum DigiSpectrum Castanet DigiSpectrum
C6 84 Wind Chime Wind Chime Wind Chime Wind Chime Bongo Hi Mt Wind Chime
85 Wood Block2M Wood Block M Wood Block2M Wood Block2M Bongo Hi Slp Wood Block M
86 Cajon 2 Cajon 2 Cajon 2 Cajon 2 Bongo Lo Slp Cajon 2
87 ConcertBD ConcertBD ConcertBD ConcertBD Bongo Hi Op ConcertBD
88 R&B Kick R&B Kick R&B Kick R&B Kick Bongo Lo Op R&B Kick
Dry Kick 2 Dry Kick 2 Dry Kick 2 Dry Kick 2 Cajon 1 Dry Kick 2
89
90 Old Kick Old Kick Old Kick Old Kick Cajon 2 Old Kick
91 Jazz Doos Jazz Doos Jazz Doos Jazz Doos Cajon 3 Jazz Doos
92 Agogo Noise Agogo Noise Agogo Noise Agogo Noise Vint Snr 2 Agogo Noise
93 Rock OHH Rock OHH Rock OHH Rock OHH Shaker 3 Rock OHH
94 JD Anklungs JD Anklungs JD Anklungs JD Anklungs WD Rim JD Anklungs
95 Rock OHH Rock OHH Rock OHH Rock OHH Mix Kick 1 Rock OHH
C7 96 Cajon 3 Cajon 3 Cajon 3 Cajon 3 Mix Kick 2 Mix Kick 1
97 Cajon 1 Cajon 1 Cajon 1 Cajon 1 Mix Kick 3 Cajon 1
98 Mix Kick 4 Mix Clap Mix Kick 4 TY Rim f Mix Kick 4 Mix Kick 2
99 Gospel Clap Gospel Clap Gospel Clap Gospel Clap Mix Kick 5 Gospel Clap
100 Bright Clap Bright Clap Bright Clap Bright Clap Mix Clap 1 Bright Clap
101 Rock Rd Cup Rock Rd Cup Rock Rd Cup Rock Rd Cup Wind Chime Rock Rd Cup
102 Cowbell Cowbell Cowbell Cowbell Tibet Cymbal Cowbell
103 Crash Cym 2 Crash Cym 2 Crash Cym 2 Crash Cym 2 Crotale Crash Cym 2

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Note No. 1159 1160 1161 1162 1163 1164

StandardKit3 Rock Kit 1 Rock Kit 2 Brush Jz Kit Orch Kit 909 808 Kit
28 HipHop Kick2 R&B Kick MaxLow Kick2 TR909 Kick1a Timpani Roll TR909 Kick 2
Syn Swt Atk1 Rk CmpKick MaxLow Kick1 TR909 Kick1b ConcertBD 2 TR909 Kick 4
29
30 Lo-Bit Stk 1 Sft Snr Gst LD Rim mf Jazz Snr R8 Shaker 1 Urbn Sn Roll
31 TR707 Kick Dry Kick 4 Power Kick Reg.Kick 1 Jngl pkt Snr TR909 Kick 5
32 TR808 Snr 5 Snr Roll Mix Clap 2 Soft Jz Roll Reverse Cym TR909 Snr 3
33 Vint Kick 1 SH32 Kick Vint Kick Reg.Kick 2 Snr Roll TR909 Kick 3
34 Reg.PHH Reg.PHH Rock CHH2 Reg.PHH Jazz Ride TR909 PHH 2
35 Vint Kick 2 Reg.Kick 1 Rock Kick Jazz Kick 1 Timpani Roll TR909 Kick 6
Old Kick 1 Reg.Kick 2 Rk CmpKick Jazz Kick 2 ConcertBD 1 TR909 Kick 1
C2 36
37 Lo-Bit Stk 4 Reg.Stick Wild Stick Hard Stick Hard Stick TR909 Rim
38 Reg.Snr 1 Reg.Snr2 Maple Snr Jazz Rim Amb.Snr 2 TR909 Snr 1
39 Amb Clap Reg.Snr Gst Sft Snr Gst Jz Brsh Swsh Gospel Clap TR909 Clap 1
40 TY Rim Reg.Snr1 Reg.Snr1 Jazz Snr Concert SD TR909 Snr 2
Jazz Lo Tom1 Reg.F.Tom Sharp L.Tom1 Reg.F.Tom 1 Timpani F TR909 Tom L
41
42 Reg.CHH 1 Reg.CHH 1 Rock CHH 1 Reg.CHH 1 Timpani F# TR909 CHH 1
43 Jazz Lo Tom2 Reg.L.Tom Sharp L.Tom2 Reg.L.Tom 1 Timpani G TR909 Tom L
44 Reg.CHH 2 Reg.CHH 2 Reg.PHH Reg.CHH 2 Timpani G# TR909 PHH 1
45 Jazz Mid Tom Reg.M.Tom Sharp L.Tom3 Reg.M.Tom 1 Timpani A TR909 Tom M
46 Reg.OHH Reg.OHH Rock OHH Reg.OHH Timpani A# TR909 OHH 2
47 Jazz Mid Tom Reg.M.TomFlm Sharp H.Tom1 Reg.M.Tom 1 Timpani B TR909 Tom M
Jazz Hi Tom Reg.H.Tom Sharp H.Tom2 Reg.H.Tom 1 Timpani C TR909 Tom H
C3 48
49 Crash Cym1 Crash Cym1a Crash Cym1 Jazz Crash Timpani C# TR909 Crash
50 Jazz Hi Tom Reg.H.TomFlm Sharp H.Tom3 Reg.H.Tom 1 Timpani D TR909 Tom H
51 Rock Rd Edge Rock Ride 1 Ride Cymbal Jazz Ride 1 Timpani D# TR909 Ride 1
52 China Cymbal China Cymbal China Cymbal China Cym 1 Timpani E TR909 Crash1
Rock Rd Cup Splash Cym Ride Bell Ride Edge Timpani f TR909 Ride 2
53
54 Tamborine Tamborine Tamborine 3 Tamborine Tamborine 3 CR78 Tamb 1
55 Splash Cym Rock Crash 1 Rock Crash 2 Crash Cym Concert Cym TR909 Crash2
56 Cowbell Cowbell Hi Cowbell Mute Cowbell Low Cowbell Mute JD Sm Metal
57 Rock Crash 2 Crash Cym1b Splash Cym Crash Cym Concert Cym2 TR909 Ride 3
58 TR808 Cym Cowbell Low Cowbell Cowbell Hi Ride Cymbal Syn Swt Atk3
59 Jazz Ride Rock Ride 2 Rock Rd Cup Ride Bell Crash Cym1 TR808 Kick 1
Bongo Hi Conga Hi Mt Conga Hi Mt Conga Hi Mt Bongo Hi Op TR808 Kick 2
C4 60
61 Bongo Lo Conga Lo Mt Conga Lo Mt Conga Lo Mt Bongo Lo Op TR808 Rim
62 Conga Hi Mt Conga Hi Slp Conga Slp Op Conga Lo Slp Conga Hi Mt TR808 Snr 2
63 Conga Hi Conga Hi Op Conga Hi Op Conga Hi Op Conga Hi Op TR808 Clap 2
64 Conga Lo Conga Lo Op Conga Lo Op Conga Lo Op Conga Lo Op TR808 Snr 4
Timbale Hi Timbale Hi Timbale Hi Timbale Hi Timbale Hi TR808 Tom L
65
66 Timbale Low Timbale Low Timbale Low Timbale Low Timbale Low TR808 CHH 1
67 Cowbell Hi Agogo Bell H Agogo Bell H Agogo Bell H Agogo Bell H TR808 Tom L
68 Cowbell Low Agogo Bell L Agogo Bell L Agogo Bell L Agogo Bell L TR808 CHH 2
69 Cabasa Cabasa Up Cabasa Up Cabasa Up Cabasa Up TR808 Tom M
70 Shaker Maracas Maracas Maracas Maracas TR808 OHH 1
71 Noise OHH 2 Whistle Shrt Whistle Shrt Jazz Kick 1 Whistle Shrt TR808 Tom M
Scratch 5 Whistle Long Whistle Long Jazz Kick 2 Whistle Long TR808 Tom H
C5 72
73 Syn Low Atk2 Guiro Short Guiro Short Hard Stick Guiro Short TR808Cowbell
74 MG Zap 3 Guiro Long Guiro Long Jazz Rim Guiro Long TR808 Tom H
75 Syn Swt Atk1 Claves Claves Sft Snr Gst Claves TR606 Cym
76 Syn Swt Atk4 Wood Block H Wood Block H Jazz Snr Wood Block H TR606 OHH 1
Bongo Hi Slp Wood Block L Wood Block L Reg.F.Tom 2 Wood Block L TR606 OHH 2
77
78 Noise OHH Cuica Mute Cuica Mute Reg.CHH 1 Cuica Mute CR78 Tamb 2
79 Noise CHH Cuica Open Cuica Open Reg.L.Tom 2 Cuica Open CR78 OHH 1
80 Triangle 1 Triangle Mt Triangle Mt Reg.CHH 2 Triangle Mt Cowbell Mute
81 Triangle 2 Triangle Op Triangle Op Reg.M.Tom 2 Triangle Op CR78 OHH 2
82 Cajon 1 Cabasa Cut Cabasa Cut Reg.OHH Cabasa Cut Syn Swt Atk5
83 Cajon 3 DigiSpectrum Wind Chime Reg.M.TomFlm Finger Snap TR808 OHH 2
Wind Chime Wind Chime Dist Chord 1 Reg.H.Tom 2 Wind Chime 808 Maracas
C6 84
85 SprgDrm Hit Dist Chord 1 Dist Chord 2 Jazz Cymbal Tibet Cymbal TR808 Claves
86 Crotale Dist Chord 2 Dist Chord 3 Reg.H.TomFlm Vibraslap Triangle Mt
87 R8 Click Dist Chord 3 Dist Chord 4 Jazz Ride 2 Crotale Triangle Op
88 Metro Bell Dist Chord 4 Dist Chord 5 China Cym 2 Applause Narrow Hit 2
DR202 Beep Dist Chord 5 Dist Chord 6 Cajon 1 TubulrBel F TR808 Cym1
89
90 Reverse Cym Rock CHH 2 Rock CHH 2 Cajon 2 TubulrBel F# MG Zap 4
91 Xylo Seq. Cowbell 2a Dist Chord 7 Cajon 3 TubulrBel G Scratch 1
92 Vinyl Noise Rock CHH 1 DistGtr Nz 1 Vint Snr 2 TubulrBel G# MG Zap 1
93 Mobile Phone Cowbell 2b DistGtr Nz 2 Shaker 3 TubulrBel A TR606 Snr 2
94 Group Snap Rock OHH DistGtr Nz 3 WD Rim f TubulrBel A# Synth Saw
95 Laser Fng.EB2 Sld JD Switch Mix Kick 1 TubulrBel B Digi Breath
Siren Cajon 3 Cajon 3 Mix Kick 2 TubulrBel C TR808 Cym2
C7 96
97 AnalogKick 3 Cajon 2 Cajon 2 Mix Kick 3 TubulrBel C# TR808 Conga1
98 Old Kick 2 Cajon 1 Cajon 1 Mix Kick 4 TubulrBel D TR808 Conga2
99 Reg.Kick Gospel Clap Real Clap Mix Kick 5 TubulrBel D# Cajon 1
100 TR909 Snr 4 Rock Crash 2 Gospel Clap Mix Clap 1 TubulrBel E Vint Snr 3
101 TR808 Snr 2 Rock Rd Cup Tibet Cymbal Wind Chime TubulrBel f Door Creak
102 Short Snr1 Club FinSnap Tamborine 1 Tibet Cymbal Church Bell1 Vint.Phone
103 Vint Snr 4 TR909 Snr 6 Tamborine 2 Crotale Church Bell2 Door Creak

94
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Note No. 1165 1166 1167 1168 1169 1170

Limiter Kit HipHop Kit 1 R&B Kit HiFi R&B Kit Machine Kit1 Kit-Euro:POP
28 Dance Kick 1 PlasticKick2 70's Kick MaxLow Kick2 TR909 Kick 2 TR707 Kick
HipHop Kick1 Group Snap AnalogKick 6 FB Kick TR909 Kick 4 AnalogKick 1
29
30 WD CStk Snr Roll Urbn Sn Roll Rough Kick1a Light Snr Dirty Snr 6
31 R&B Kick 1 AnalogKick 3 HipHop Kick2 MaxLow Kick1 Mix Kick 5 FB Kick
32 Wild Stick GoodOld Snr5 R&B ShrtSnr1 Rough Kick3 DR660 Snr BrushRoll
33 Dance Kick 2 Dist Kick Old Kick Rk CmpKick Mix Kick 2 PlasticKick2
34 Hip PHH Noise CHH HipHop CHH TR909 Kick 5 TR808 PHH Reg.CHH 2
35 LD Kick TR707 Kick EuroHit Kick Rough Kick1b AnalogKick 6 Power Kick
R&B Kick 2 Dry Kick 4 TR909 Kick 1 R&B Kick 70's Kick 1 TR909 Kick 6
C2 36
37 Lo-Bit Stk 2 Jazz Rim Dry Stick 4 Hard Stick TR808 Rim R&B ShrtRim1
38 Wild Stick Dirty Snr 2 Dirty Snr 2 GoodOld Snr3 Jngl pktSnr1 TR909 Snr 3
39 Dist Clap Old Clap Maple Snr GoodOld Snr4 Funk Clap TR909 Clap 1
40 DR660 Snr Vint Snr 4a Short Snr2 GoodOld Snr2 Jngl pktSnr2 TR909 Snr 4a
Reg.F.Tom p TR909 Tom L TR808 Tom 1 Lo-Bit Snr 1 MG Attack Sharp L.Tom2
41
42 Lo-Bit CHH 2 HipHop CHH 2 TR606 CHH 2 Noise CHH TR808 CHH 1 TR909 CHH 1
43 Reg.F.Tom f Deep Tom L Reg.F.Tom Jazz Snr MG Attack Sharp L.Tom1
44 Lo-Bit CHH 4 Lo-Bit PHH TR909 CHH 2 Hip PHH TR808 PHH TR909 PHH 1
45 Reg.L.Tom TR909 Tom M TR808 Tom 2 Lo-Bit Snr 2 MG Blip Sharp M.Tom
46 Lo-Bit OHH 2 Lo-Bit OHH 2 Lo-Bit OHH 2 Reg.OHH TR808 OHH 1 TR909 OHH 2
47 Reg.L.TomFlm Deep Tom M Reg.M.Tom Vint Snr 2 MG Blip Sharp M.Tom
Reg.H.Tom TR909 Tom H TR808 Tom 3 WD Snr Beam HiQ Sharp H.Tom
C3 48
49 Crash Cym 1 Crash Cym1 p Rock Crash 1 TR808 Cym 1 TR606 Cym 2a TR909 Crash
50 Reg.H.TomFlm Deep Tom H Reg.H.Tom GoodOld Snr6 Beam HiQ Sharp H.Tom
51 Lo-Bit OHH 1 Rock Crash 1 Splash Cym TR606 Cym 2 Lo-Bit OHH1a TR909 Ride
52 TR606 Cym 2 Rock Rd Edge Rock Rd Edge White Noise TR606 Cym 2 China Cymbal
Jazz Ride 1 China Cymbal Concert Cym Bright Form Lo-Bit OHH1b Rock Rd Edge
53
54 Tamborine 1 Snap Cheap Clap CR78 Tamb CR78 Tamb 1 Tamborine 3
55 TR606 OHH TR808 Conga2 Snap SBF Hrd Ld 1 TR606 Cym 2b Crash Cym1 p
56 Vibraslap Vint Snr 4 Lo-Bit Snr 2 JD Sm Metal JD Sm Metal1 Cowbell
57 Mix Kick 2 TR808Cowbell Wood Block TR808 Cym 2 Lo-Bit OHH1c Rock Crash 2
58 Hip PHH Guiro Long Shaku Noise Syn Swt Atk3 Syn Swt Atk3 Vibraslap
59 Mix Kick 2 Guiro 2 Syn Hrd Atk1 TR909 Kick4a AnalogKick 6 TR606 Cym 2
Rough Kick Guiro 1 JD MetalWind TR909 Kick4b 70's Kick 2 Bongo Lo Op
C4 60
61 Dry Stick Shaker 3 Maracas TR808 Rim R8 Comp Rim Bongo Hi Op
62 GoodOld Snr5 Noise CHH Cabasa Up TR808 Snr 2 Pocket Snr Conga Hi Mt
63 R8 Clap Cabasa 2 Cabasa Down TR808 Clap 2 TR909 Clap 2 Conga Hi Op
64 Jngl pkt Snr Vibraslap Cabasa Cut TR808 Snr 4 Vint Snr 4 Conga Lo Op
TR808 Tom Mix Kick 2 Tamborine 1 TR808 Tom 4 TR606 Tom L Conga Efx
65
66 Noise CHH 1 Dist Snr Tamborine 2 TR808 CHH 1 Dance CHH Shaker 3
67 TR808 Tom Sweep Bass Tamborine 1 TR808 Tom 3 TR606 Tom L Shaker 2
68 Noise CHH 2 Short Snr1 Triangle Mt TR808 CHH 2 Lo-Bit CHH 1 CR78 Beat
69 TR606 Tom L1 CR78 CHH Triangle Op TR808 Tom 2 TR606 Tom M Cabasa Cut 1
70 Lo-Bit OHH 2 Shaker 2 Xylo Seq. TR808 OHH 1 Reg.OHH Cabasa Cut 2
71 TR606 Tom L2 CR78 Tamb Philly Hit TR808 Tom 1 TR606 Tom M Lo-Bit PHH
TR606 Tom H1 Noise OHH LoFi Min Hit Scratch 3 TR606 Tom H Scratch 7
C5 72
73 Crash Cym 2 Slight Bell Vinyl Noise Scratch 4 TR909 Crash1 Syn Low Atk2
74 TR606 Tom H2 Tibet Cymbal Cajon 1 Scratch 5 TR606 Tom H MG Zap 7
75 Jazz Ride 2 Wind Chime Cajon 2 Scratch 6 Lite OHH 1 Syn Swt Atk1
76 Splash Cym Scratch 2 Cajon 3 Old Clap TR909 Crash2 Syn Swt Atk4
Rock Rd Edge Scratch 1 Conga Hi Mt Hand Clap Lite OHH 2 Conga Thumb
77
78 Tamborine 3 Scratch 10 Conga Lo Mt R8 Clap CR78 Tamb 2 Triangle 1
79 Guiro Long Scratch 9 Conga Hi Slp Cabasa Cut TR909 Crash Triangle 2
80 Gospel Clap Smear Hit 2 Conga Lo Slp R8 Shaker JD Sm Metal2 Euro Hit 1
81 Tibet Cymbal Lofi Min Hit Conga Hi Op Tamborine 2 Lite OHH 3 Tao Hit
82 Wind Chime Thin Beef Conga Lo Op Cabasa Down Syn Swt Atk1 Narrow Hit 2
83 Mix Kick 1 Dist Hit Conga Slp Op Cabasa Cut TR808 OHH 2 Euro Hit 2
Mix Kick 2 Narrow Hit 2 Conga Efx Tibet Cymbal 808 Maracas Wind Chime
C6 84
85 Mix Kick 4 MG Attack Conga Thumb Crotale TR808 Claves Timpani Roll
86 Vint Snr 1 MG Zap 9 Noise OHH Slight Bell Triangle Mt Crotale
87 Vint Snr 2 Mix Clap 3 Shaker 3 Wind Chime Triangle Op R8 Click
88 Vint Snr 3 R8 Shaker Castanet Triangle 1 Narrow Hit 2 Metro Bell
Vint Snr 4 Cabasa Down CR78 Beat Mild CanWave Euro Hit MC500 Beep 1
89
90 Noise CHH Cabasa Cut CR78 OHH Cheap Clap MG Zap 4 MC500 Beep 2
91 CR78 CHH MaxLow Kick1 CR78 CHH JD Plunk Scratch 1 Atmosphere
92 Noise CHH 3 MaxLow Kick2 Lite OHH Syn Swt Atk2 MG Zap 1 Agogo Noise
93 Noise OHH 2 Lo-Bit Snr 1 CR78 Tamb DistGtr Nz 2 TR606 Snr 2 Car Slip
94 Noise OHH 1 Dance CHH JD Vox Noise River Synth Saw Group Snap
95 Heartbeat Wild Stick Guiro 2 Fast Bubble Digi Breath Laser
Scratch 2 MC500 Beep 1 Metro Click Train Pass DigiSpectrum ConcertBD
C7 96
97 Scratch 5 MC500 Beep 2 Metro Bell LoFi Min Hit Shaker 3 AnalogKick 3
98 Scratch 1 Gospel Clap Wind Chime Pink Noise Conga 2H Slp Old Kick
99 Scratch 4 TR606 Cym Crotale Agogo Noise Cajon 1 Reg.Kick
100 Scratch 6 China Cymbal Crash Cym1 p SynVox Nz 1 Vint Snr 3 TR909 Snr 4b
101 Mobile Phone Rock Crash 2 TR909 Crash SynVox Nz 2 Door Creak 1 TR808 Snr 2
102 Sweep Bass 1 CR78 OHH CR78 OHH R8 Click Vint.Phone Vint Snr 4
103 Sweep Bass 2 Concert Cym Rev.Lite OHH Syn Swt Atk1 Door Creak 2 Light Snr

95
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Note No. 1171 1172 1173 1174 1175 1176

House Kit Nu Technica Machine Kit2 ArtificalKit Noise Kit Kick Menu
28 TR909 Kick 3 SH32 Kick 1 AnalogKick 5 TR909 Kick 2 TR909 Kick 2 -----
SH32 Kick JD EML 5th 1 AnalogKick6a AnalogKick 2 TR909 Kick 4 -----
29
30 Urbn Sn Roll AnalogKick 6 Analog Snr 1 TR808 Snr 5 Urbn SnRoll1 -----
31 TR909 Kick 2 TR909 Kick 5 AnalogKick1a TR909 Kick 3 TR909 Kick 5 -----
32 TR909 Snr 6 Plastic Kc3a TR808 Snr 4 Vint Snr 3 Door Creak 1 -----
33 TR909 Kick 5 R&B Kick FB Kick FB Kick TR909 Kick 1 -----
34 TR909 PHH 2 TR707 Kick TR808 PHH TR606 Cym 2a SynSwt Atk7a -----
35 TR909 Kick4a Plastic Kc3b AnalogKick6b AnalogKick 3 Cajon 3a Reg.Kick p
TR909 Kick4b SH32 Kick 2 AnalogKick6c TVF Trigger Cajon 3b Reg.Kick f
C2 36
37 TR909 Rim TR909 Snr 5 R&B ShrtRim2 TR909 Rim Laser Reg.Kick ff
38 TR909 Snr 4 Syn Mtl Atk2 TR909 Snr 1 TR909 Snr 1 Door Creak2a Rock Kick p
39 TR909 Clap 2 Flange Snr TR707 Clap Claptail Train Pass Rock Kick f
40 TR909 Snr 5 TR909 Snr 3 Lo-Bit Snr 2 TR909 Snr 3 Door Creak2b Jazz Kick p
TR909 Tom L Dance CHH Deep Tom L TR909 Tom L2 Syn Swt AtkL Jazz Kick mf
41
42 TR909 CHH 2 TR606DstCHH1 TR606 CHH 1 TR909 CHH 1 SynSwt Atk7b Jazz Kick f
43 TR909 Tom L TR909 PHH 2 Deep Tom L TR909 Tom L1 Syn Swt AtkL Dry Kick 1
44 TR909 PHH 2 TR606 PHH 2a TR606 PHH 1 TR909 PHH 1 Syn Mtl Atk2 Tight Kick
45 TR909 Tom M TR909 OHH 1 Deep Tom M TR909 Tom M2 Syn Swt AtkM Old Kick
46 TR909 OHH 2 Lite OHH TR909 OHH 2 TR909 OHH 2 White Noise Jz Dry Kick
47 TR909 Tom M Rock Rd Cup Deep Tom M TR909 Tom M1 Syn Swt AtkM Dry Kick 2
TR909 Tom H Syn Hrd Atk4 Deep Tom H TR909 Tom H2 Syn Swt AtkH Dry Kick 3
C3 48
49 TR909 Crash1 MG Zap 7a Lite OHH TR909 Crash Syn Mtl Atk1 Power Kick
50 TR909 Tom H MG Zap 9 Deep Tom H TR909 Tom H1 Syn Swt AtkH R&B Kick L
51 TR909 Ride 1 MG Zap 8 TR808 OHH 1 TR909 Ride SynLow Atk1a Rk CmpKick
52 TR909 Crash2 MG Zap 10 TR606 Cym 2a White Noise1 Crotale 1 Dance Kick
TR909 Ride 2 HipHop CHH 2 TR909 Ride 1 CR78 Beat Laser 1 HipHop Kick1
53
54 CR78 Tamb Syn Swt Atk3 CR78 Tamb Tamborine 3 MG Zap 11 HipHop Kick2
55 MG Zap 4 Reg.PHH TR606 Cym 2b Atmosphere Laser 2 TR909 Kick 1
56 JD Sm Metal Syn Swt Atk6 JD Sm Metal Cowbell Mute MG Zap 4a TR808 Kick
57 MG Zap 5 HipHop OHH TR909 Ride 2 Syn Swt Atk1 Digi Loop 1 TR909 Kick 4
58 Syn Swt Atk3 TR909 OHH 2 Syn Swt Atk3 Cowbell MG Zap 6a WD Kick mf
59 AnalogKick 2 TR909 R.Crsh AnalogKick1b Reverse Cym SynLow Atk2a WD Kick f
TR909 Kick 2 TR909 Crash AnalogKick 4 AnalogKick 5 SynLow Atk2b WD Kick ff
C4 60
61 TR909 Rim Rock Crash 1 Urbn SnRoll1 Metal Vox W1 MG Attack LD Kick mf
62 TR909 Snr 1 MG Zap 2 Analog Snr 2 Metal Vox W2 Syn Hrd Atk4 LD Kick f
63 TR909 Clap 1 MG Zap 9 Dist Clap Metal Vox W3 Train Pass LD Kick ff
64 TR909 Snr 2 Smear Hit 2 Analog Snr 3 White Noise2 Syn Mtl Atk1 TY Kick mf
TR909 D.TomL Low Square R8 Shaker White Noise3 Syn Swt AtkL TY Kick f
65
66 TR909 CHH 1 JD WoodCrak1 TR909 CHH 2 TR606 Cym 2b Syn Swt Atk7 TY Kick ff
67 TR909 D.TomL Piano Atk Nz R8 Shaker MG Blip Syn Swt AtkL SF Kick 1
68 TR808 CHH 2 JD WoodCrak2 TR909 PHH 2 MG Blip Rev. Syn Mtl Atk2 SF Kick 2
69 TR909 D.TomM DR202 Beep 1 Syn Hrd Atk1 DigiSpectrum Syn Swt AtkM MaxLow Kick1
70 TR909 OHH 1 JD WoodCrak3 TR909 OHH 2 Ice Crash DigiSpectrum MaxLow Kick2
71 TR909 D.TomM Syn Pulse 2 SynHrd Atk1a Metal Vox L2 Syn Swt AtkM Dist Kick
TR909 D.TomH DR202 Beep 2 SynHrd Atk1b Thin Beef Syn Swt AtkH FB Kick
C5 72
73 TR909 Crash3 Narrow Hit2a TR909 Crash LoFi Min Hit Digi Loop 1 Rough Kick1
74 TR909 D.TomH E.Gtr Harm SynHrd Atk1c Trance Saw Syn Swt AtkH Rough Kick2
75 TR909 Ride 3 Narrow Hit2b TR909 Ride 3 TB DstSqr SynLow Atk1b Rough Kick3
76 TR909 Crash4 Euro Hit TR909 Crash Finger Snap Crotale 2 PlasticKick1
TR909 Ride 4 Jazz Lo Tom1 TR909 Ride 1 Conga Slp Op Laser 3 70's Kick
77
78 Tamborine 2 TR909 D.TomL CR78 Tamb Conga Lo Op MG Zap 11 AnalogKick 1
79 MG Zap 2 Jazz Lo Tom2 MG Zap 2 Conga Hi Op Laser 4 PlasticKick2
80 Cowbell Low TR909 D.TomM JD Sm Metal Triangle Mt MG Zap 4b PlasticKick3
81 MG Zap 6 Jazz Lo Tom3 MG Zap 6 Triangle Op Crotale 3 TR909 Kick 2
82 Cowbell Hi TR909 D.TomH Syn Swt Atk1 Cabasa Cut MG Zap 6b AnalogKick 2
83 MG Zap 7 AnalogKick 3 MG Zap 7 R8 Shaker Syn Low Atk2 TR909 Kick 3
Conga Hi Mt AnalogKick 5 808 Maracas AnalogKick 1 808 Maracas AnalogKick 3
C6 84
85 Conga Lo Mt Club Clap TR808 Claves PlasticKick2 TR808 Claves AnalogKick 4
86 Conga Lo Slp TR808 Snr 7 Triangle Mt PlasticKick3 Triangle Mt AnalogKick 5
87 Conga Hi Op TR808 Snr 3 Triangle Op TR909 Kick 1 Triangle Op AnalogKick 6
88 Conga Lo Op TR909 Snr 6a Euro Hit AnalogKick 4 Dry Lo Tom TR606DstKick
Timbale Hi TR909 CHH 2 Scratch 4 AnalogKick 6 Conga Thumb TR909 Kick 5
89
90 Timbale Low TR606DstCHH2 Brt Strat C TR909 Snr 2 Funk Gtr SH32 Kick
91 Agogo Bell H Dance CHH Crotale TR909 Snr 4 Digi Loop 1 TR707 Kick
92 Agogo Bell L TR606 PHH 2b MG Zap 4 TR909 Snr 5 MG Zap 4c TR909 Kick 6
93 Cabasa Down TR909 OHH 2 Urbn SnRoll2 TR909 Snr 6 Urbn SnRoll2 Mix Kick 1
94 Maracas TR606 OHH Calc.Saw TR808 Snr 1 Sweep Saw Mix Kick 2
95 Guiro Short CR78 OHH White Noise TR808 Snr 2 White Noise Mix Kick 3
Guiro Long Juno Sqr HD Blow Loop TR808 CHH 1 Monsoon Mix Kick 4
C7 96
97 Claves TR909 Snr 6b Shaker 2 TR808 OHH 1 Shaker 3 Mix Kick 5
98 Wood Block L TR808 Kick Shaker 3 TR909 CHH 2 Scream Dry Kick 4
99 Wood Block H JD EML 5th 2 Cajon 1 TR909 OHH 2 Cajon 1 Sweep Bass
100 Triangle Mt TR707 Clap Euro Hit Lite CHH Euro Hit Vint Kick
101 Triangle Op Dist Clap Laugh Lite OHH Laugh Small Kick
102 Castanet MG Zap 5 Office Phone TR606 Cym 2c ConcertBD -----
103 Whistle MG Zap 7b Door Creak China Cymbal Timpani -----

96
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Note No. 1177 1178 1179 1180 1181 1182

Snare Menu Snr/Rim Menu HiHat Menu Tom Menu Clp&Cym&Hit FX/SFX Menu
28 ----- ----- ----- ----- ----- -----
----- ----- ----- ----- ----- -----
29
30 ----- ----- ----- ----- ----- -----
31 ----- ----- ----- ----- ----- -----
32 ----- ----- ----- ----- ----- -----
33 ----- ----- ----- ----- ----- -----
34 ----- ----- ----- ----- ----- -----
35 Reg.Snr1 p GoodOld Snr1 Reg.CHH 1 p Reg.F.Tom p Hand Clap MG Zap 1
Reg.Snr1mf GoodOld Snr2 Reg.CHH 1 mf Reg.F.Tom f Club Clap MG Zap 2
C2 36
37 Reg.Snr1 f GoodOld Snr3 Reg.CHH 1 f Reg.L.Tom p Real Clap MG Zap 3
38 Reg.Snr1ff GoodOld Snr4 Reg.CHH 1 ff Reg.L.Tom f Bright Clap MG Zap 4
39 Reg.Snr2 p GoodOld Snr5 Reg.CHH 2 mf Reg.M.Tom p R8 Clap MG Zap 5
40 Reg.Snr2 f GoodOld Snr6 Reg.CHH 2 f Reg.M.Tom f Gospel Clap MG Zap 6
Reg.Snr2ff Dirty Snr 1 Reg.CHH 2 ff Reg.H.Tom p Amb Clap MG Zap 7
41
42 Amb.Snr1 p Dirty Snr 2 Reg.PHH mf Reg.H.Tom f TR808 Clap 1 MG Zap 8
43 Amb.Snr1 f Dirty Snr 4 Reg.PHH f Reg.L.TomFlm TR808 Clap 2 MG Zap 9
44 Amb.Snr2 p Dirty Snr 5 Reg.OHH mf Reg.M.TomFlm TR909 Clap 1 MG Zap 10
45 Amb.Snr2 f Dirty Snr 6 Reg.OHH f Reg.H.TomFlm TR909 Clap 2 MG Zap 11
46 Piccolo Snr Dirty Snr 7 Reg.OHH ff Jazz Lo Tom TR707 Clap MG Blip
47 Maple Snr Grit Snr 1 Rock CHH1 mf Jazz Mid Tom Cheap Clap Beam HiQ
Reg.Snr Gst Grit Snr 2 Rock CHH1 f Jazz Hi Tom Mix Clap 1 MG Attack
C3 48
49 Sft Snr Gst Grit Snr 3 Rock CHH2 mf Jazz Lo Flm Mix Clap 2 Syn Low Atk1
50 Jazz Snr p LoBit SnrFlm Rock CHH2 f Jazz Mid Flm Mix Clap 3 Syn Low Atk2
51 Jz Brsh Slap Lo-Bit Snr 1 Rock OHH Jazz Hi Flm Mix Clap 4 Syn Hrd Atk1
52 Jz Brsh Swsh Dirty Snr 3 Lo-Bit CHH 1 Sharp Lo Tom Dist Clap Syn Hrd Atk2
Swish&Turn p Lo-Bit Snr 2 Lo-Bit CHH 2 Sharp Hi Tom Dist Clap 2 Syn Hrd Atk3
53
54 Swish&Turn f Analog Snr 1 Lo-Bit CHH 3 Dry Lo Tom Crash Cym1 p Syn Hrd Atk4
55 Concert SD Tiny Snare Lo-Bit CHH 4 TR909 Tom Crash Cym1 f Syn Mtl Atk1
56 Snr Roll Lp R&B ShrtSnr1 Lo-Bit CHH 5 TR909 DstTom Crash Cym 2 Syn Mtl Atk2
57 BrushRoll Lp TR808 Snr 1 HipHop CHH TR808 Tom Rock Crash 1 Syn Swt Atk1
58 WD Snr p TR808 Snr 2 TR909 CHH 1 TR606 Tom Rock Crash 2 Syn Swt Atk2
59 WD Snr mf TR808 Snr 3 TR909 CHH 2 Deep Tom Splash Cym Syn Swt Atk3
WD Snr f TR606 Snr 1 TR808 CHH 1 RR F.Tom mp Jazz Crash Syn Swt Atk4
C4 60
61 WD Snr ff MrchCmp Snr TR808 CHH 2 RR F.Tom f Ride Cymbal Syn Swt Atk5
62 WD Rim p Reggae Snr TR606 CHH 1 RR F.Tom ff Ride Bell Syn Swt Atk6
63 WD Rim mf DR660 Snr TR606 CHH 2 LD L.Tom mf Rock Rd Cup Syn Swt Atk7
64 WD Rim f Jngl pkt Snr TR606 DstCHH LD L.Tom f Rock Rd Edge R8 Click
WD Rim ff Pocket Snr Noise CHH LD L.Tom ff Jazz Ride p MC500 Beep 1
65
66 LD Snr p Flange Snr Lite CHH LD M.Tom mf Jazz Ride mf MC500 Beep 2
67 LD Snr mf Analog Snr 2 CR78 CHH LD M.Tom f China Cymbal DR202 Beep
68 LD Snr f Analog Snr 3 Dance CHH LD M.Tom ff TR909 Crash JD Switch
69 LD Snr ff TR909 Snr 1 Lo-Bit PHH LD H.Tom mf TR909 Ride Cutting Nz
70 LD Rim mf TR909 Snr 2 Hip PHH LD H.Tom f Concert Cym1 Vinyl Noise
71 LD Rim f TR909 Snr 3 TR909 PHH 1 LD H.Tom ff Concert Cym2 Applause
LD Rim ff TR909 Snr 4 TR909 PHH 2 TY L.Tom mf TR606 Cym River
C5 72
73 TY Snr p TR909 Snr 5 TR808 PHH TY L.Tom f TR808 Cym Thunder
74 TY Snr mf TR909 Snr 6 TR606 PHH 1 TY L.Tom ff Reverse Cym Monsoon
75 TY Snr f TR808 Snr 4 TR606 PHH 2 TY M.Tom mf ClassicHseHt Stream
76 TY Snr ff Lite Snare HipHop OHH TY M.Tom f Narrow Hit 1 Bubble
TY Rim p TR808 Snr 5 TR909 OHH 1 TY M.Tom ff Narrow Hit 2 Bird Song
77
78 TY Rim mf TR808 Snr 6 TR909 OHH 2 TY H.Tom mf Euro Hit Dog Bark
79 TY Rim f TR606 Snr 2 TR808 OHH 1 TY H.Tom f Dist Hit Gallop
80 TY Rim ff CR78 Snare TR808 OHH 2 TY H.Tom ff Thin Beef Vint.Phone
81 SF Snr p Urbn Sn Roll TR606 OHH SF L.Tom mf Tao Hit Office Phone
82 SF Snr mf Reg.Stick Lo-Bit OHH 1 SF L.Tom ff Smear Hit 1 Mobile Phone
83 SF Snr f Soft Stick Lo-Bit OHH 2 SF M.Tom mf Smear Hit 2 Door Creak
SF Snr ff Hard Stick Lo-Bit OHH 3 SF M.Tom f LoFi Min Hit Door Slam
C6 84
85 SF SnrGst1 Wild Stick Lite OHH SF M.Tom ff Orch. Hit Car Engine
86 SF SnrGst2 R&B ShrtRim1 CR78 OHH SF H.Tom mf Punch Hit Car Slip
87 SF Rim p R&B ShrtRim2 Noise OHH 1 SF H.Tom f O'Skool Hit Car Pass
88 SF Rim mf WD CStk mf Noise OHH 2 SF H.Tom ff Philly Hit Crash Seq.
SF Rim f WD CStk f ----- RR FT Flm ff ----- Gun Shot
89
90 SF Rim ff LD CStk mf ----- SF LT Flm ff ----- Siren
91 Light Snr ff LD CStk f ----- SF MT Flm f ----- Train Pass
92 Click Snr p TY CStk mf ----- SF HT Flm p ----- Airplane
93 Click Snr ff TY CStk f ----- SF HT Flm f ----- Laugh
94 Jazz Snr mf SfCrsStk p ----- SF HT Flm ff ----- Scream
95 Jazz Snr f SfCrsStk f ----- ----- ----- Punch
Jazz Rim p Lo-Bit Stk 1 ----- ----- ----- Heartbeat
C7 96
97 Soft Jz Roll Lo-Bit Stk 2 ----- ----- ----- Footsteps
98 ----- Dry Stick 1 ----- ----- ----- Machine Gun
99 ----- Dry Stick 2 ----- ----- ----- Laser
100 ----- Dry Stick 3 ----- ----- ----- Thunder Lp
101 ----- R8 Comp Rim ----- ----- ----- Metro Bell
102 ----- TR909 Rim ----- ----- ----- Metro Click
103 ----- TR808 Rim ----- ----- ----- -----

97
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Note No. 1183 1184

Percussion Scrh&Voi&Wld
28 Cowbell -----
Cowbell Mute -----
29
30 Cowbell2 Lng -----
31 Cowbell2 Edg -----
32 Cowbell3 mf -----
33 Cowbell3 f -----
34 Wood Block -----
35 Wood Block2H Scratch 1
Wood Block2L Scratch 2
C2 36
37 Claves Scratch 3
38 TR808 Claves Scratch 4
39 Claves 2 Scratch 5
40 CR78 Beat Scratch 6
Castanet Scratch 7
41
42 Whistle Scratch 9
43 Whistle Long Scratch 10
44 Whistle Shrt Aah Formant
45 Bongo Hi Mt Eeh Formant
46 Bongo Hi Slp Iih Formant
47 Bongo Lo Slp Ooh Formant
Bongo Hi Op Uuh Formant
C3 48
49 Bongo Lo Op Metal Vox W1
50 Conga Hi Mt Metal Vox W2
51 Conga Lo Mt Metal Vox W3
52 Conga Hi Slp JD Gamelan 1
Conga Lo Slp JD Gamelan 2
53
54 Conga Hi Op JD Gamelan 3
55 Conga Lo Op JD Gamelan 4
56 Conga Slp Op JD Gamelan 5
57 Conga Efx JD Gamelan 6
58 Conga Thumb JD Gamelan 7
59 Conga 2H Op JD Gamelan 8
Conga 2H Mt JD Gamelan 9
C4 60
61 Conga 2H Slp JD Gamelan10
62 Conga 2L Op JD Gamelan11
63 Conga 2L Mt JD Gamelan12
64 Timbale 1 Cajon 1
Timbale 2 Cajon 2
65
66 Timbare 3 Cajon 3
67 Timbare 4 Cajon 4
68 Cabasa Up SprgDrm Hit
69 Cabasa Down Cuica
70 Cabasa Cut Cuica 2 Hi
71 Cabasa2 Cuica 2 Low
Cabasa2 Cut -----
C5 72
73 Shaker -----
74 Maracas -----
75 808 Maracas -----
76 R8 Shaker -----
Guiro 1 -----
77
78 Guiro 2 -----
79 Guiro Long -----
80 Guiro 2 Up -----
81 Guiro 2 Down -----
82 Guiro 2 Fast -----
83 Vibraslap -----
Tamborine 1 -----
C6 84
85 Tamborine 2 -----
86 Tamborine 3 -----
87 Tamborine4 f -----
88 Tamborine4 p -----
CR78 Tamb -----
89
90 Timpani p -----
91 Timpani f -----
92 Timpani Roll -----
93 Timpani Lp -----
94 ConcertBD p -----
95 ConcertBD f -----
ConcertBD ff -----
C7 96
97 ConcertBD Lp -----
98 Triangle 1Op -----
99 Triangle 1Mt -----
100 Triangle 2 -----
101 Tibet Cymbal -----
102 Wind Chime -----
103 Crotale -----

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GM Group
Note No. 1185 (PC: 1) 1186 (PC: 9) 1187 (PC: 17) 1188 (PC: 25) 1189 (PC: 26) 1190 (PC: 33)
GM2 STANDARD GM2 ROOM GM2 POWER GM2 ELECTRIC GM2 ANALOG GM2 JAZZ
27 High Q High Q High Q High Q High Q High Q
28 Slap Slap Slap Slap Slap Slap
Scratch Push Scratch Push Scratch Push Scratch Push Scratch Push Scratch Push
29
30 Scratch Pull Scratch Pull Scratch Pull Scratch Pull Scratch Pull Scratch Pull
31 Sticks Sticks Sticks Sticks Sticks Sticks
32 Square Click Square Click Square Click Square Click Square Click Square Click
33 Metron Click Metron Click Metron Click Metron Click Metron Click Metron Click
34 Metron Bell Metron Bell Metron Bell Metron Bell Metron Bell Metron Bell
35 Kick Drum 2 Kick Drum 2 Power Kick 2 Kick Drum 2 Kick Drum 2 Jazz Kick 2
Kick Drum 1 Kick Drum 1 Power Kick 1 Elec.Kick 1 Ana.Kick 1 Jazz Kick 1
C2 36
37 Side Stick Side Stick Side Stick Side Stick Ana.Rim Sho Side Stick
38 Aco.Snare Aco.Snare PowerSnareDr E.SnareDrum1 Ana.Snare 1 Aco.Snare
39 Hand Clap Hand Clap Hand Clap Hand Clap Hand Clap Hand Clap
40 Elec.Snare Elec.Snare Elec.Snare E.SnareDrum2 Elec.Snare Elec.Snare
Low Tom 2 Room LowTom2 PowerLowTom2 E.Low Tom 2 Ana.Low Tom2 Low Tom 2
41
42 ClosedHi-hat ClosedHi-hat ClosedHi-hat ClosedHi-hat Ana.ClosedHH ClosedHi-hat
43 Low Tom 1 Room LowTom1 PowerLowTom1 E.Low Tom 1 Ana.Low Tom1 Low Tom 1
44 Pedal Hi-hat Pedal Hi-hat Pedal Hi-hat Pedal Hi-hat Ana.ClosedHH Pedal Hi-hat
45 Mid Tom 2 Room MidTom2 PowerMidTom2 E.Mid Tom 2 Ana.Mid Tom2 Mid Tom 2
46 Open Hi-hat Open Hi-hat Open Hi-hat Open Hi-hat Ana.Open HH Open Hi-hat
47 Mid Tom 1 Room MidTom1 PowerMidTom1 E.Mid Tom 1 Ana.Mid Tom1 Mid Tom 1
High Tom 2 Room Hi Tom2 Power HiTom2 E.Hi Tom 2 Ana.Hi Tom2 High Tom 2
C3 48
49 CrashCymbal1 CrashCymbal1 CrashCymbal1 CrashCymbal1 Ana.Cymbal CrashCymbal1
50 High Tom 1 Room Hi Tom1 Power HiTom1 E.Hi Tom 1 Ana.Hi Tom1 High Tom 1
51 Ride Cymbal1 Ride Cymbal1 Ride Cymbal1 Ride Cymbal1 Ride Cymbal1 Ride Cymbal1
52 China Cymbal China Cymbal China Cymbal Reverse Cym. China Cymbal China Cymbal
Ride Bell Ride Bell Ride Bell Ride Bell Ride Bell Ride Bell
53
54 Tambourine Tambourine Tambourine Tambourine Tambourine Tambourine
55 SplashCymbal SplashCymbal SplashCymbal SplashCymbal SplashCymbal SplashCymbal
56 Cowbell Cowbell Cowbell Cowbell Ana.Cowbell Cowbell
57 CrashCymbal2 CrashCymbal2 CrashCymbal2 CrashCymbal2 CrashCymbal2 CrashCymbal2
58 Vibra-slap Vibra-slap Vibra-slap Vibra-slap Vibra-slap Vibra-slap
59 Ride Cymbal2 Ride Cymbal2 Ride Cymbal2 Ride Cymbal2 Ride Cymbal2 Ride Cymbal2
C4 60 High Bongo High Bongo High Bongo High Bongo High Bongo High Bongo
61 Low Bongo Low Bongo Low Bongo Low Bongo Low Bongo Low Bongo
62 MuteHi Conga MuteHi Conga MuteHi Conga MuteHi Conga Ana.Hi Conga MuteHi Conga
63 OpenHi Conga OpenHi Conga OpenHi Conga OpenHi Conga Ana.MidConga OpenHi Conga
64 Low Conga Low Conga Low Conga Low Conga Ana.LowConga Low Conga
High Timbale High Timbale High Timbale High Timbale High Timbale High Timbale
65
66 Low Timbale Low Timbale Low Timbale Low Timbale Low Timbale Low Timbale
67 High Agogo High Agogo High Agogo High Agogo High Agogo High Agogo
68 Low Agogo Low Agogo Low Agogo Low Agogo Low Agogo Low Agogo
69 Cabasa Cabasa Cabasa Cabasa Cabasa Cabasa
70 Maracas Maracas Maracas Maracas Ana.Maracas Maracas
71 ShortWhistle ShortWhistle ShortWhistle ShortWhistle ShortWhistle ShortWhistle
Long Whistle Long Whistle Long Whistle Long Whistle Long Whistle Long Whistle
C5 72
73 Short Guiro Short Guiro Short Guiro Short Guiro Short Guiro Short Guiro
74 Long Guiro Long Guiro Long Guiro Long Guiro Long Guiro Long Guiro
75 Claves Claves Claves Claves Ana.Claves Claves
76 Hi WoodBlock Hi WoodBlock Hi WoodBlock Hi WoodBlock Hi WoodBlock Hi WoodBlock
LowWoodBlock LowWoodBlock LowWoodBlock LowWoodBlock LowWoodBlock LowWoodBlock
77
78 Mute Cuica Mute Cuica Mute Cuica Mute Cuica Mute Cuica Mute Cuica
79 Open Cuica Open Cuica Open Cuica Open Cuica Open Cuica Open Cuica
80 MuteTriangle MuteTriangle MuteTriangle MuteTriangle MuteTriangle MuteTriangle
81 OpenTriangle OpenTriangle OpenTriangle OpenTriangle OpenTriangle OpenTriangle
82 Shaker Shaker Shaker Shaker Shaker Shaker
83
Jingle Bell Jingle Bell Jingle Bell Jingle Bell Jingle Bell Jingle Bell
C6 84 Bell Tree Bell Tree Bell Tree Bell Tree Bell Tree Bell Tree
85 Castanets Castanets Castanets Castanets Castanets Castanets
86 Mute Surdo Mute Surdo Mute Surdo Mute Surdo Mute Surdo Mute Surdo
87 Open Surdo Open Surdo Open Surdo Open Surdo Open Surdo Open Surdo
88 ----- ----- ----- ----- ----- -----

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Note No. 1191 (PC: 41) 1192 (PC: 49) 1193 (PC: 57)
GM2 BRUSH GM2 ORCHSTRA GM2 SFX
27 High Q ClosedHi-hat -----
28 Slap Pedal Hi-hat -----
Scratch Push Open Hi-hat -----
29
30 Scratch Pull Ride Cymbal1 -----
31 Sticks Sticks -----
32 Square Click Square Click -----
33 Metron Click Metron Click -----
34 Metron Bell Metron Bell -----
35 Jazz Kick 2 Concert BD 2 -----
Jazz Kick 1 Concert BD 1 -----
C2 36
37 Side Stick Side Stick -----
38 Brush Tap Concert SD -----
39 Brush Slap Castanets High Q
40 Brush Swirl Concert SD Slap
BrushLowTom2 Timpani F Scratch Push
41
42 ClosedHi-hat Timpani F# Scratch Pull
43 BrushLowTom1 Timpani G Sticks
44 Pedal Hi-hat Timpani G# Square Click
45 BrushMidTom2 Timpani A Metron Click
46 Open Hi-hat Timpani A# Metron Bell
47 BrushMidTom1 Timpani B GtFret Noise
Brush HiTom2 Timpani c Cut Noise Up
C3 48
49 CrashCymbal1 Timpani c# Cut Noise Dw
50 Brush HiTom1 Timpani d Slap_St.Bass
51 Ride Cymbal1 Timpani d# Fl.Key Click
52 China Cymbal Timpani e Laughing
Ride Bell Timpani f Scream
53
54 Tambourine Tambourine Punch
55 SplashCymbal SplashCymbal Heart Beat
56 Cowbell Cowbell Footsteps 1
57 CrashCymbal2 Concert Cym2 Footsteps 2
58 Vibra-slap Vibra-slap Applause
59
Ride Cymbal2 Concert Cym1 Door Creak
C4 60 High Bongo High Bongo Door
61 Low Bongo Low Bongo Scratch
62 MuteHi Conga MuteHi Conga Wind Chimes
63 OpenHi Conga OpenHi Conga Car-Engine
64 Low Conga Low Conga Car-Stop
High Timbale High Timbale Car-Pass
65
66 Low Timbale Low Timbale Car-Crash
67 High Agogo High Agogo Siren
68 Low Agogo Low Agogo Train
69 Cabasa Cabasa Jetplane
70 Maracas Maracas Helicopter
71 ShortWhistle ShortWhistle Starship
C5 72
Long Whistle Long Whistle Gun Shot
73 Short Guiro Short Guiro Machine Gun
74 Long Guiro Long Guiro Lasergun
75 Claves Claves Explosion
76 Hi WoodBlock Hi WoodBlock Dog
LowWoodBlock LowWoodBlock Horse-Gallop
77
78 Mute Cuica Mute Cuica Birds
79 Open Cuica Open Cuica Rain
80 MuteTriangle MuteTriangle Thunder
81 OpenTriangle OpenTriangle Wind
82 Shaker Shaker Seashore
83
Jingle Bell Jingle Bell Stream
C6 84 Bell Tree Bell Tree Bubble
85 Castanets Castanets -----
86 Mute Surdo Mute Surdo -----
87 Open Surdo Open Surdo -----
88 ----- Applause -----

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MEMO

101
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Chord Intelligence
● = Constituent notes of this chord
★ = Keys you need to press to hear this chord when “Chord Mode” in “Performance Parameters” is set to INTEL (p. 37)

C C# D E E F

CM7 C#M7 DM7 E M7 EM7 FM7

C7 C#7 D7 E 7 E7 F7

Cm C#m Dm E m Em Fm

Cm7 C#m7 Dm7 E m7 Em7 Fm7

CmM7 C#mM7 DmM7 E mM7 EmM7 FmM7

Cdim C#dim Ddim E dim Edim Fdim

Cm7 ( 5 ) C#m7 ( 5 ) Dm7 ( 5 ) E m7 ( 5 ) Em7 ( 5 ) Fm7 ( 5 )

Caug C#aug Daug E aug Eaug Faug

Csus4 C#sus4 Dsus4 E sus4 Esus4 Fsus4

C7sus4 C#7sus4 D7sus4 E 7sus4 E7sus4 F7sus4

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Chord Intelligence

● = Constituent notes of this chord

★ = Keys you need to press to hear this chord when “Chord Mode” in “Performance Parameters” is set to INTEL (p. 37)

F# G A A B B

F#M7 GM7 A M7 AM7 B M7 BM7

F#7 G7 A 7 A7 B 7 B7

F#m Gm A m Am B m Bm

F#m7 Gm7 A m7 Am7 B m7 Bm7

F#mM7 GmM7 A mM7 AmM7 B mM7 BmM7

F#dim Gdim A dim Adim B dim Bdim

F#m7 ( 5 ) Gm7 ( 5 ) A m7 ( 5 ) Am7 ( 5 ) B m7 ( 5 ) Bm7 ( 5 )

F#aug Gaug A aug Aaug B aug Baug

F#sus4 Gsus4 A sus4 Asus4 B sus4 Bsus4

F#7sus4 G7sus4 A 7sus4 A7sus4 B 7sus4 B7sus4

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MIDI Implementation Chart

Date : October 15, 2008

Model: Prelude MIDI Implementation Chart Version : 1.00
Function... Transmitted Recognized Remarks

Basic Default 1—16 1—16

Channel Changed 1—16 1—16
Default Mode 3 Mode 3
Mode Messages Mode 3, 4 (M = 1) Mode 3, 4 (M = 1) *2
Altered **************
Note 0—127 0—127
Number : True Voice ************** 0—127
Note ON O O
Velocity Note OFF O *3 O
Key’s O *3 O
Aftertouch
Channel’s O *3 O

Pitch Bend O *1 O *1
0, 32 O *1 O *1 Bank select
1 O *1 O *1 Modulation
2 O X Breath type
4 O X Foot type
5 O O Portamento time
6, 38 O O Data entry
7 O O Volume
8 O X Balance
10 O O Panpot
11 O O Expression
16 O X General purpose controller 1
17 O X General purpose controller 2
18 O X General purpose controller 3
19 O X General purpose controller 4
64 O O Hold1
65 O O Portamento
Control 66 O O Sostenuto
Change 67 O O Soft
68 O O Legato foot switch
69 O X Hold2
70 O X Sound variation
71 O O Resonance
72 O O Release time
73 O O Attack time
74 O O Cutoff
75 O O Decay time
76 O O Vibrato rate
77 O O Vibrato depth
78 O O Vibrato delay
80 O O General purpose controller 5
81 O O General purpose controller 6
82 O O General purpose controller 7
83 O O General purpose controller 8
84 O O Portamento control
91 O O (Reverb) General purpose effects 1
92 O X Tremolo
93 O O (Chorus) General purpose effects 3
94 O X Celeste
95 O X Phaser
96, 97 O X Increment, Decrement
98, 99 O X NRPN LSB,MSB
100, 101 O O RPN LSB,MSB
102—119 O X

Program O *1 O *1
Change : True Number ************** 0—127 Program Number 1—128

System Exclusive O O
: Song Position O *1 O
System : Song Select X X
Common : Tune X X
System : Clock O *1 O *1
Realtime : Command O *1 O *1
: All Sound Off O *3 O
: Reset All Controllers O *3 O
Aux
: Local ON/OFF X X
Messages O (123—127)
: All Note Off O *3
: Active Sensing O O
: System Reset X X
* 1 O X is selectable.
Notes * 2 Recognized as M=1 even if M›1.
* 3 Transmitted from Backing Track.

Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO O : Yes

Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO X : No

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Specifications
Prelude: Music Keykoard Dimensions 1,044 (W) x 317 (D) x 121 (H) mm
Conforms to General MIDI 2 System) Weight 7.8 kg/17.19 lbs. (excluding AC
adaptor)
■ Keyboard Accessories Owner’s Manual
CD-ROM
61 keys (with velocity) (Style Converter 3.0, Playlist Editor)
■ Sound Generator AC Adaptor (PSB-7U), Power Cord
Music rest
Maximum Polyphony 128 voices
Parts 16 parts + Keyboard part
Wave Memory 256 MB (16-bit linear equivalent) Style Converter 3 System Requirements
Preset Memory Performances: 128
Tones: 896 + 256 (GM2) + World Operating Microsoft® Windows® XP
Rhythm Sets: 32 + 9 (GM2) + World System Microsoft® Windows Vista®
User Memory Performances: 128 * This does not work with the 64-bit Edition of
Effects MFX: Upper and Lower, 78 types Windows Vista®.
Chorus: 3 types
CPU/Clock Pentium®/Celeron® processor
Reverb: 5 types
1 GHz or higher
■ Backing Track RAM 512 MB or more
Backing type Style, Song, USB Memory Player
Hard Disk 2 MB or more
Tempo (MIDI) Style, Song: 20 to 250
Display/ 800 x 600 or higher/
USB Memory Player: 5 to 300
Colors 65,536 colors (16 bit High Color) or more
Style Variations 4 Intro, 4 Main, 4 Ending, 4 Fill In
Sync Start, Stop Others CD-ROM Drive
One Touch Setting
Song (16-track 16-track, Rec mode (Mix, Replace), Playlist Editor System Requirements
Recorder) Count in, Punch In-Out, Input
Quantize Operating Microsoft® Windows® XP
USB Memory Player 999 songs System Microsoft® Windows Vista®
SMF: format-0/1
* This does not work with the 64-bit Edition of
Audio File: WAV, AIFF, MP3
Windows Vista®.
Preset Memory Styles: 130 + World
CPU/Clock Pentium®/Celeron® processor
User Memory Styles: 100 1 GHz or higher
Songs: 200
RAM 512 MB or more
* If user memory is full, it will not
be possible to save anything Hard Disk 10 MB or more
even though the above limit has Display/Colors 1024 x 768 or higher/24 bit Full Color or more
not been exceeded.
Others CD-ROM Drive
■ Others
Controllers Control knob: 1 986
Pitch Bend/Modulation Lever: 1 * While under most conditions, a computer similar to the above
will permit normal operation of the Prelude applications, Roland
USB (MIDI) Operating System
cannot guarantee compatibility solely on these factors. This is due
Windows: XP Home SP2 or later/
to numerous variables that may influence the processing
Windows XP Professional SP2 or
environment, such as differences in motherboard design and the
later/Windows Vista
particular combination of other devices involved.
* This does not work with the 64- 962a
bit Edition of Windows Vista. * In the interest of product improvement, the specifications and/or
Display 240 x 64 dots black graphic LCD appearance of this unit are subject to change without prior
Connectors Output Jacks (L/MONO, R) notice.
Ext Input jack (mini jack) * All rights reserved. Unauthorized use of this material for purposes
Headphones Jacks: 2 other than private, personal enjoyment is a violation of
MIDI Connectors (IN, OUT) applicable laws.
Hold Pedal Jack * No data for the music that is played will be output from MIDI
Control Pedal Jack OUT.
USB Connectors
: COMPUTER (supports USB MIDI)
: MEMORY (supports USB 2.0 Hi-
Speed Flash Memory)
Speakers 2x 10 cm
Rated power output 2x 11W
Power Supply DC 12V (AC Adaptor)
Current Draw 1,200 mA

105
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Index
A Song ................................................................... 29
AC Adaptor ............................................................... 14 Song from playlist ................................................. 33
Accompaniment ......................................................... 24 Demo Song ............................................................... 17
Arabic ....................................................................... 20 Display Contrast ......................................................... 16
ASSIGNABLE 1 .......................................................... 34 Dual ......................................................................... 19
ASSIGNABLE 2 .......................................................... 34 Mode .................................................................. 19
Assignable pedal ........................................................ 36 E
Attack Time ................................................................ 38 Editing
Audio File .................................................................. 30 Performance ......................................................... 37
AUTO FILL-IN ............................................................. 24 Playlist ................................................................. 33
Auto Fill-in ................................................................. 24 Tone .................................................................... 38
EFFECT SEND ............................................................ 40
B EFFECT SOURCE ........................................................ 41
Backing ..................................................................... 13 Effects List .................................................................. 56
Backing Hold ............................................................. 37 [ENDING] ................................................................. 24
BACKING TYPE buttons ............................................... 10 [ENTER] .................................................................... 11
Backing Types ............................................................ 23 Equal ........................................................................ 20
Backup ...................................................................... 48 Error Messages .......................................................... 55
BALANCE [EXIT] ........................................................................ 11
BACKING ............................................................ 23 Expression pedal ........................................................ 15
KEYBOARD ........................................................... 23
EXT INPUT jack .............................................. 12, 15, 18
BALANCE buttons ....................................................... 10
Bass Inversion ............................................................ 37 F
Bend Mode ................................................................ 45 Factory Reset ............................................................. 17
File name ............................................................ 44, 54
C Fill-In ......................................................................... 24
Center Cancel ...................................................... 18, 32
FILTER ....................................................................... 34
Chain Play ................................................................. 33
Filter
Chord Intelligence ..................................................... 102
D Beam ................................................................ 46
Chord Mode .............................................................. 37
Format
Chorus ...................................................................... 40
USB memory ......................................................... 48
Output Select ........................................................ 40
Parameters ............................................................ 82 H
Chorus Send Level ...................................................... 38 Harmony ................................................................... 22
Computer .................................................................. 44 Headphones .............................................................. 15
Connecting HOLD PEDAL jack ................................................ 12, 15
AC Adaptor .......................................................... 14 Hold Pedal Switch ...................................................... 39
Computer ............................................................. 44 Hold Polarity .............................................................. 46
External equipment ................................................ 15
MIDI .................................................................... 42 I
Pedal and switch ................................................... 15 INIT .......................................................................... 27
Portable audio player ............................................. 15 Initializing USB memory .............................................. 48
CONTROL PEDAL jack .................................... 12, 15, 36 Input Quantize ........................................................... 28
Control Pedal Switch ................................................... 39 [INTRO] .................................................................... 24
Cord hook ................................................................. 12
Count In .................................................................... 28 K
Cursor buttons ...................................................... 11, 16 KBD Trans ................................................................. 22
Cutoff ........................................................................ 38 [KEY SCALE] .............................................................. 20
[KEY TOUCH] ...................................................... 11, 21
D Keyboard Mode ......................................................... 19
D Beam
Assignable 1 ......................................................... 46 L
Assignable 2 ......................................................... 46 [LCD CONTRAST] knob ........................................ 12, 16
Controller ............................................................. 34 Legato Switch ............................................................ 39
Screen ................................................................. 34 Level Adjust ............................................................... 33
Sens ..................................................................... 46 Loading User Data ...................................................... 48
Data Structure in USB Memory ..................................... 49 Local Switch ........................................................ 42, 45
DC IN jack .......................................................... 12, 14 LOCK ....................................................................... 47
Decay Time ................................................................ 38 Lock System ............................................................... 17
Delay ........................................................................ 82 LOWER MFX ............................................................. 40
Deleting Lower MFX Chorus Send ............................................. 40

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Index

Lower MFX Reverb Send .............................................. 40 List ...................................................................... 36

Lower MFX Source ...................................................... 41 Name .................................................................. 39
Lower Tone ................................................................ 19 Parameters ........................................................... 37
Piano setting .............................................................. 19
M Pitch Bend ................................................................. 36
[MAIN] ..................................................................... 24 Pitch Bend Range ....................................................... 39
Main screen ......................................................... 16, 31 Pitch Bend/Modulation lever .................................. 10, 36
Master Tune ............................................................... 45 Playback mode .......................................................... 33
[MELODY INTELLIGENCE] ........................................... 11 Playing
MELODY INTELLIGENCE ............................................. 22 SMF/Audio Files ................................................... 30
[MENU] ............................................................... 11, 45 Song ............................................................. 29, 32
Metronome .................................................... 22–23, 46 Playlist ........................................................... 30–31, 33
Metronome Level ........................................................ 22 PLAYLIST SELECT screen .............................................. 31
Metronome Mode ....................................................... 22 Portamento Switch ...................................................... 39
Metronome Switch ...................................................... 22 Portamento Time ......................................................... 39
MFX (Multi effects) ...................................................... 40 Power On/Off ........................................................... 15
MIDI ................................................................... 42, 46 [POWER] switch ................................................... 12, 15
MIDI Channels ........................................................... 42 Preset memory ........................................................... 14
MIDI Implementation Chart ........................................ 104 Punch In/Out ............................................................. 28
MIDI OUT/IN connectors ............................................. 12
MIDI Parameters ......................................................... 42
R
Rec Mode ................................................................. 28
MIDI Rx Switch ........................................................... 43
Recording .................................................................. 26
MIDI Sound Module .................................................... 43
Specified Part ....................................................... 27
MIDI Tx Switch ........................................................... 43
Release Time ............................................................. 38
Minus One ................................................................. 32
Repeat All ................................................................. 33
Minus One function ..................................................... 30
Replace recording ...................................................... 28
[MINUS ONE/CENTER CANCEL] .......................... 30, 32
Re-recording .............................................................. 28
Mix recording ............................................................ 28
Resonance ................................................................. 38
Modulation ................................................................ 36
REVERB ..................................................................... 40
Mono/Poly ................................................................ 38
Reverb Parameters ...................................................... 83
Multi-Effects Parameters ............................................... 56
Reverb Send Level ...................................................... 38
Music Style (Style) ................................................. 13, 25
Rhythm Set List ........................................................... 92
MUTE ........................................................................ 25
Rx Channel ................................................................ 43
Mute ................................................................... 27, 30
Rx Modulation ........................................................... 43
N Rx Pitch Bend ............................................................. 43
[NUMERIC] .......................................................... 11, 16 Rx Program Change ................................................... 43
Rx Sync ..................................................................... 43
O
OCTAVE buttons ................................................... 11, 21 S
Octave Lower ............................................................. 37 Saving
Octave Shift ............................................................... 21 Performance ......................................................... 39
Octave Upper ............................................................ 37 Playlist settings ...................................................... 33
[ONE TOUCH] ..................................................... 11, 26 Song ................................................................... 28
One Touch function ..................................................... 26 User Data to USB Memory ...................................... 48
Screen Saver Time ...................................................... 45
OUTPUT R, L/MONO jacks ......................................... 12
Single mode .............................................................. 19
Output Select ............................................................. 40
SMF ......................................................................... 30
P SMF/Audio files that can be played ............................. 30
Pan ........................................................................... 38 SOLO ....................................................................... 25
Part 1–16 Level .......................................................... 33 Solo .......................................................................... 27
Part Balance ............................................................... 24 [SONG] .............................................................. 23, 29
[PART VIEW] ............................................ 10, 24, 27–28 Song ................................................................... 13, 26
Pedal .................................................................. 15, 36 SONG INFO (LEVEL) screen ........................................ 33
Pedal Assign .............................................................. 45 Song Initialize window ................................................ 27
Pedal Polarity ............................................................. 46 Song name ................................................................ 28
Pedal switch ............................................................... 15 Song order ................................................................ 33
[PERFORM] .......................................................... 11, 36 [SONG REC] .................................................. 10, 26–28
PERFORM MIXER screen .............................................. 24 Song Rec Standby screen ............................................ 28
Performance ......................................................... 13, 36 SONG SELECT screen ................................................ 31

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Index

SONG TRACK ........................................................... 27 USB MIDI connector ............................................. 12, 44

Song Trans ................................................................ 21 User Data .................................................................. 48
SONG/USB MEMORY PLAYER CONTROL .................... 30 User memory ............................................................. 13
Songlist ............................................................... 30, 32 User Style
[SPLIT] ................................................................. 11, 19 Adding ................................................................ 25
Split mode ................................................................. 19 Deleting ............................................................... 25
Split Point ...................................................... 19, 24, 37
V
[START/STOP] ............................................................ 24
VALUE dial ................................................................ 11
[STYLE] ................................................................ 23–24
VARIATION buttons .................................................... 24
Style (Music Style) ....................................................... 24
Variations .................................................................. 24
STYLE CONTROL buttons ....................................... 10, 24
Velocity ..................................................................... 21
STYLE FAMILY buttons ........................................... 10, 25
Velocity Sensitivity ...................................................... 21
Style List .................................................................... 25
Version ..................................................................... 47
SYNC buttons ............................................................ 10
Vibrato Delay ............................................................ 38
SYNC [START] ........................................................... 25
Vibrato Depth ............................................................ 38
SYNC [STOP] ............................................................. 25
Vibrato Rate .............................................................. 38
System memory .......................................................... 13
[V-LINK] .............................................................. 11, 50
System Parameters ...................................................... 45
V-LINK ...................................................................... 50
System Settings ........................................................... 45
V-LINK SETUP ............................................................ 50
System settings that are not stored ................................. 47
VOLUME ................................................................... 34
System Transpose ....................................................... 45
Volume
System Version Info screens ......................................... 47
D Beam ................................................................ 46
T Each song ............................................................ 33
[TAP TEMPO] ....................................................... 10, 23 Metronome ........................................................... 22
Overall ................................................................ 15
Temperament ............................................................. 20
Part ..................................................................... 24
Tempo ....................................................................... 23
Volume balance
Temporary area .......................................................... 13
between Backing and Keyboard ............................. 23
[TONE] ............................................................... 11, 20 [VOLUME] knob ................................................... 10, 15
Tone ................................................................... 13, 20
Editing ................................................................. 38 W
List ....................................................................... 20 Window ................................................................... 16
Parameters ............................................................ 38 [WRITE] .................................................. 11, 28, 33, 39
Tone List .................................................................... 84
TONE SELECT buttons ........................................... 11, 20
[TRANSPOSE] ............................................................ 11
TRANSPOSE .............................................................. 21
Transpose .................................................................. 21
Tx Channel ................................................................ 43
Tx Clock .................................................................... 43
Tx Modulation ............................................................ 43
Tx Pitch Bend ............................................................. 43
Tx Program Change .................................................... 43
Tx Song Position ......................................................... 43
Tx StartStop ............................................................... 43

U
UPPER MFX ................................................................ 40
Upper MFX Chorus Send ............................................. 40
Upper MFX Reverb Send ............................................. 40
Upper MFX Source ..................................................... 41
Upper Tone ................................................................ 19
USB .......................................................................... 30
USB Driver ........................................................... 44–45
[USB IMPORT] ...................................................... 11, 49
USB memory .............................................................. 48
USB Memory Format ................................................... 48
[USB MEMORY PLAYER] ........................................ 23, 31
USB Memory Player .............................................. 13, 30
USB MEMORY PLAYER CONTROL ................................ 31

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Information When you need repair service, call your nearest Roland Service Center or authorized Roland
distributor in your country as shown below.

AFRICA PHILIPPINES CURACAO URUGUAY NORWAY JORDAN

G.A. Yupangco & Co. Inc. Zeelandia Music Center Inc. Todo Musica S.A. Roland Scandinavia Avd. MUSIC HOUSE CO. LTD.
EGYPT 339 Gil J. Puyat Avenue Orionweg 30 Francisco Acuna de Figueroa Kontor Norge FREDDY FOR MUSIC
Makati, Metro Manila 1200, Curacao, Netherland Antilles 1771 Lilleakerveien 2 Postboks 95 P. O. Box 922846
Al Fanny Trading Office
PHILIPPINES TEL:(305)5926866 C.P.: 11.800 Lilleaker N-0216 Oslo Amman 11192 JORDAN
9, EBN Hagar Al Askalany
Street, TEL: (02) 899 9801 Montevideo, URUGUAY NORWAY TEL: (06) 5692696
DOMINICAN REPUBLIC TEL: (02) 924-2335 TEL: 2273 0074
ARD E1 Golf, Heliopolis, KUWAIT
SINGAPORE Instrumentos Fernando Giraldez
Cairo 11341, EGYPT VENEZUELA POLAND
SWEE LEE MUSIC Calle Proyecto Central No.3 EASA HUSAIN AL-YOUSIFI
TEL: (022)-417-1828
COMPANY PTE. LTD. Ens.La Esperilla Instrumentos Musicales ROLAND POLSKA SP. Z O.O. & SONS CO.
REUNION 150 Sims Drive, Santo Domingo, Allegro,C.A. ul. Kty Grodziskie 16B Al-Yousifi Service Center
Maison FO - YAM Marcel SINGAPORE 387381 Dominican Republic Av.las industrias edf.Guitar 03-289 Warszawa, POLAND P.O.Box 126 (Safat) 13002
25 Rue Jules Hermann, TEL: 6846-3676 TEL:(809) 683 0305 import TEL: (022) 678 9512 KUWAIT
Chaudron - BP79 97 491 #7 zona Industrial de Turumo TEL: 00 965 802929
TAIWAN ECUADOR Caracas, Venezuela PORTUGAL
Ste Clotilde Cedex,
REUNION ISLAND ROLAND TAIWAN Mas Musika TEL: (212) 244-1122 Roland Iberia, S.L. LEBANON
ENTERPRISE CO., LTD. Rumichaca 822 y Zaruma Portugal Office Chahine S.A.L.
TEL: (0262) 218-429
Room 5, 9fl. No. 112 Chung Guayaquil - Ecuador Cais das Pedras, 8/9-1 Dto George Zeidan St., Chahine
SOUTH AFRICA Shan N.Road Sec.2, Taipei, TEL:(593-4)2302364 EUROPE 4050-465, Porto, PORTUGAL Bldg., Achrafieh, P.O.Box: 16-
T.O.M.S. Sound & Music TAIWAN, R.O.C. TEL: 22 608 00 60 5857
EL SALVADOR
(Pty)Ltd. TEL: (02) 2561 3339 AUSTRIA ROMANIA
Beirut, LEBANON
OMNI MUSIC TEL: (01) 20-1441
2 ASTRON ROAD DENVER Roland Elektronische
JOHANNESBURG ZA 2195,
THAILAND 75 Avenida Norte y Final FBS LINES
Alameda Juan Pablo II, Musikinstrumente HmbH. Piata Libertatii 1, OMAN
SOUTH AFRICA Theera Music Co. , Ltd.
100-108 Soi Verng Edificio No.4010 San Salvador, Austrian Office 535500 Gheorgheni, TALENTZ CENTRE L.L.C.
TEL: (011)417 3400 Eduard-Bodem-Gasse 8, ROMANIA
Nakornkasem, New EL SALVADOR Malatan House No.1
Road,Sumpantawongse, TEL: 262-0788 A-6020 Innsbruck, AUSTRIA TEL: (266) 364 609 Al Noor Street, Ruwi
Paul Bothner(PTY)Ltd. TEL: (0512) 26 44 260
Bangkok 10100 THAILAND SULTANATE OF OMAN
Royal Cape Park, Unit 24 GUATEMALA RUSSIA TEL: 2478 3443
Londonderry Road, Ottery 7800 TEL: (02) 224-8821 BELGIUM/FRANCE/
Casa Instrumental MuTek
Cape Town, SOUTH AFRICA Calzada Roosevelt 34-01,zona 11 HOLLAND/ Dorozhnaya ul.3,korp.6 QATAR
TEL: (021) 799 4900 Ciudad de Guatemala LUXEMBOURG 117 545 Moscow, RUSSIA Al Emadi Co. (Badie Studio &
Guatemala TEL: (095) 981-4967 Stores)
Roland Central Europe N.V.
OCEANIA TEL:(502) 599-2888 Houtstraat 3, B-2260, Oevel SLOVAKIA P.O. Box 62, Doha, QATAR
ASIA HONDURAS (Westerlo) BELGIUM DAN Acoustic s.r.o.
TEL: 4423-554
AUSTRALIA/ TEL: (014) 575811 Povazská 18.
CHINA Almacen Pajaro Azul S.A. de C.V. SAUDI ARABIA
NEW ZEALAND BO.Paz Barahona CROATIA SK - 940 01 Nové Zámky aDawliah Universal
Roland Shanghai Electronics
3 Ave.11 Calle S.O TEL: (035) 6424 330
Co.,Ltd. Roland Corporation ART-CENTAR Electronics APL
San Pedro Sula, Honduras
5F. No.1500 Pingliang Road Australia Pty.,Ltd.
TEL: (504) 553-2029
Degenova 3. SPAIN Behind Pizza Inn
Shanghai 200090, CHINA 38 Campbell Avenue HR - 10000 Zagreb Roland Iberia, S.L. Prince Turkey Street
TEL: (021) 5580-0800 Dee Why West. NSW 2099 MARTINIQUE TEL: (1) 466 8493 Paseo García Faria, 33-35 aDawliah Building,
AUSTRALIA 08005 Barcelona SPAIN PO BOX 2154,
Musique & Son CZECH REP.
Roland Shanghai Electronics TEL: 93 493 91 00 Alkhobar 31952
Z.I.Les Mangle CZECH REPUBLIC
Co.,Ltd. For Australia SAUDI ARABIA
97232 Le Lamantin SWEDEN
(BEIJING OFFICE) Tel: (02) 9982 8266 DISTRIBUTOR s.r.o TEL: (03) 8643601
Martinique F.W.I.
10F. No.18 3 Section Anhuaxili For New Zealand Voctárova 247/16 Roland Scandinavia A/S
Tel: (09) 3098 715
TEL: 596 596 426860
CZ - 180 00 PRAHA 8, SWEDISH SALES OFFICE
SYRIA
Chaoyang District Beijing
100011 CHINA CZECH REP. Danvik Center 28, 2 tr. Technical Light & Sound
Gigamusic SARL
TEL: (010) 6426-5050 TEL: (2) 830 20270 S-131 30 Nacka SWEDEN Center
CENTRAL/LATIN 10 Rte De La Folie
TEL: (0)8 702 00 20 PO BOX 13520 BLDG No.17
97200 Fort De France DENMARK
HONG KONG AMERICA ABDUL WAHAB
Martinique F.W.I. Roland Scandinavia A/S SWITZERLAND
Tom Lee Music Co., Ltd. KANAWATI.ST RAWDA
TEL: 596 596 715222 Nordhavnsvej 7, Postbox 880, DAMASCUS, SYRIA
Service Division Roland (Switzerland) AG
22-32 Pun Shan Street, Tsuen MEXICO DK-2100 Copenhagen Landstrasse 5, Postfach, TEL: (011) 223-5384
ARGENTINA DENMARK
Wan, New Territories, Casa Veerkamp, s.a. de c.v. CH-4452 Itingen,
Instrumentos Musicales S.A. TEL: 3916 6200 SWITZERLAND TURKEY
HONG KONG Av.Santa Fe 2055 Av. Toluca No. 323, Col. Olivar
TEL:(061)975-9987 ZUHAL DIS TICARET A.S.
TEL: 2415 0911 (1123) Buenos Aires de los Padres 01780 Mexico FINLAND Galip Dede Cad. No.37
ARGENTINA D.F. MEXICO Roland Scandinavia As, Filial UKRAINE Beyoglu - Istanbul / TURKEY
Parsons Music Ltd. TEL: (011) 4508-2700 TEL: (55) 5668-6699
Finland EURHYTHMICS Ltd. TEL: (0212) 249 85 10
8th Floor, Railway Plaza, 39
NICARAGUA Elannontie 5 P.O.Box: 37-a.
Chatham Road South, T.S.T, BARBADOS U.A.E.
Kowloon, HONG KONG Bansbach Instrumentos FIN-01510 Vantaa, FINLAND Nedecey Str. 30
A&B Music Supplies LTD TEL: (0)9 68 24 020 UA - 89600 Mukachevo, Zak Electronics & Musical
TEL: 2333 1863 12 Webster Industrial Park Musicales Nicaragua
UKRAINE Instruments Co. L.L.C.
Wildey, St.Michael, Barbados Altamira D'Este Calle Principal GERMANY
INDIA de la Farmacia 5ta.Avenida
TEL: (03131) 414-40 Zabeel Road, Al Sherooq Bldg.,
TEL: (246)430-1100 Roland Elektronische No. 14, Ground Floor, Dubai,
Rivera Digitec (India) Pvt. Ltd. 1 Cuadra al Lago.#503
Musikinstrumente HmbH. UNITED KINGDOM U.A.E.
411, Nirman Kendra BRAZIL Managua, Nicaragua
Mahalaxmi Flats Compound Oststrasse 96, 22844 Roland (U.K.) Ltd. TEL: (04) 3360715
Roland Brasil Ltda. TEL: (505)277-2557 Atlantic Close, Swansea
Off. Dr. Edwin Moses Road, Norderstedt, GERMANY
Rua San Jose, 211 Enterprise Park, SWANSEA
Mumbai-400011, INDIA PANAMA TEL: (040) 52 60090
Parque Industrial San Jose SA7 9FJ,
TEL: (022) 2493 9051 Cotia - Sao Paulo - SP, BRAZIL SUPRO MUNDIAL, S.A. GREECE/CYPRUS UNITED KINGDOM NORTH AMERICA
TEL: (011) 4615 5666 Boulevard Andrews, Albrook,
INDONESIA Panama City, REP. DE
STOLLAS S.A. TEL: (01792) 702701
PT Citra IntiRama CHILE PANAMA Music Sound Light CANADA
Jl. Cideng Timur No. 15J-15O Comercial Fancy II S.A. TEL: 315-0101 155, New National Road Roland Canada Ltd.
Jakarta Pusat Rut.: 96.919.420-1 Patras 26442, GREECE (Head Office)
INDONESIA Nataniel Cox #739, 4th Floor PARAGUAY TEL: 2610 435400 MIDDLE EAST 5480 Parkwood Way
TEL: (021) 6324170 Santiago - Centro, CHILE Distribuidora De Richmond B. C., V6V 2M4
HUNGARY BAHRAIN
TEL: (02) 688-9540 Instrumentos Musicales CANADA
KOREA Roland East Europe Ltd. Moon Stores
J.E. Olear y ESQ. Manduvira TEL: (604) 270 6626
Cosmos Corporation COLOMBIA Warehouse Area ‘DEPO’ Pf.83 No.1231&1249 Rumaytha
Asuncion PARAGUAY
1461-9, Seocho-Dong, Centro Musical Ltda. H-2046 Torokbalint, Building Road 3931, Manama
TEL: (595) 21 492147 Roland Canada Ltd.
Seocho Ku, Seoul, KOREA Cra 43 B No 25 A 41 Bododega 9 HUNGARY 339 BAHRAIN (Toronto Office)
TEL: (02) 3486-8855 Medellin, Colombia PERU TEL: (23) 511011 TEL: 17 813 942 170 Admiral Boulevard
TEL: (574)3812529 Audionet IRELAND
MALAYSIA IRAN Mississauga On L5T 2N6
Distribuciones Musicales SAC CANADA
Roland Asia Pacific Sdn. Bhd. COSTA RICA Roland Ireland MOCO INC.
Juan Fanning 530 TEL: (905) 362 9707
45-1, Block C2, Jalan PJU 1/39, JUAN Bansbach Instrumentos G2 Calmount Park, Calmount No.41 Nike St., Dr.Shariyati Ave.,
Miraflores
Dataran Prima, 47301 Petaling Avenue, Dublin 12 Roberoye Cerahe Mirdamad
Musicales Lima - Peru U. S. A.
Jaya, Selangor, MALAYSIA Republic of IRELAND Tehran, IRAN
Ave.1. Calle 11, Apartado TEL: (511) 4461388 Roland Corporation U.S.
TEL: (03) 7805-3263 TEL: (01) 4294444 TEL: (021)-2285-4169
10237, 5100 S. Eastern Avenue
TRINIDAD
VIET NAM San Jose, COSTA RICA ITALY ISRAEL Los Angeles, CA 90040-2938,
TEL: 258-0211 AMR Ltd U. S. A.
VIET THUONG Roland Italy S. p. A. Halilit P. Greenspoon & Sons
Ground Floor TEL: (323) 890 3700
CORPORATION Viale delle Industrie 8,
Maritime Plaza Ltd.
386 CACH MANG THANG 20020 Arese, Milano, ITALY
Barataria Trinidad W.I. 8 Retzif Ha'alia Hashnia St.
TAM ST. DIST.3, TEL: (02) 937-78300
TEL: (868) 638 6385 Tel-Aviv-Yafo ISRAEL
HO CHI MINH CITY TEL: (03) 6823666
VIET NAM
TEL: 9316540

As of Jan. 1, 2009 (ROLAND)

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For China

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For EU Countries

This product complies with the requirements of EMC Directive 2004/108/EC.

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.

This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) this device may not cause harmful interference, and
(2) this device must accept any interference received, including interference that may cause undesired operation.

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

For the USA

DECLARATION OF CONFORMITY
Compliance Information Statement
Model Name : Prelude
Type of Equipment : Music Keyboard
Responsible Party : Roland Corporation U.S.
Address : 5100 S. Eastern Avenue, Los Angeles, CA 90040-2938
Telephone : (323) 890-3700

For C.A. US (Proposition 65)

WARNING
This product contains chemicals known to cause cancer, birth defects and other reproductive harm, including lead.
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R®
602.00.0322.01 RES 692-08 Owner’s Manual (E) Prelude