isi ¢s 64 VOICE SYNTHESIZER MODULE AYUL77-FX SC-880 The documentation for the SC-880 consists of two manuals: “Quick Start” and “Owner's Manual.” “Quick Start” explains basic procedures for using the SC-880. ‘The “Owner's Manual” explains the functions for each mode, Use the table of contents index, and quick reference of displays to find the desired chapter. [Before using this unit, carefully read the sections entitled: “IMPORTANT| ISAFETY INSTRUCTIONS" (p. 2), “USING THE UNIT SAFELY" (p. 3), and] "IMPORTANT NOTES" (p. 5). These sections provide important information Jconcerning the proper operation ofthe unit. Additionally, in order to fel assured that you have geined a good grasp of every feature provided by your new unit, Quick start and Owner's manual should be ead in ts entirety. The mana should be saved and kept on hand as a convenient reference Conventions Used in This Manual + The names of panel buttons are enclosed in square brackets: [ Example: [PERFORM] means the PERFORM button. + Some procedures appear like this: | }1 H_ |. This means that you should press the panel buttons in the order given, Example: (PERFORM}-{TONE}[EDIT] This means that you should press the PERFORM button, then the TONE but= ton, and finally the EDIT button, * Other pages in the manual that you might want to refer to for further infor- mation are shown like this: (p.*9) Copyright ©1998 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any {form without the written permission of ROLAND CORPORATION.A A ATTENTION neo occrecmau versa 'DONOT REMOVE COVER (OR BACK NOUSER SEAVICEABLE PARTS ISIE REFER SEAVICNG TO QUALIFIED SERVICE PERSONNEL A A Tau dongs muna ean ha iso he pusence co onngted“Uangerovs orapw he Froosts annie hat ray b of sie mepnie paairg an marirance (eg) toon he Toot aecanpoyia he ds TNSTAUGTIONS PERTARING TO A RISK OF FIRE, ELEOTRIG SHOCK, OR NIURY TO PERSONS. ] IMPORTANT SAFETY INSTRUCTIONS SAVE THESE INSTRUCTIONS WARNING - When using elec peau, basic procautons should alway be flowed, including the following ead al tre instructions boore using the product De nt ute thie preauct near wale — tor example, near 3 Sah, washbow!, klchon sink in a wel basement oF nat 2 swimming poo: the ie Tis pout shoul be used ani wth 2 cat or stand tts rocommanded bythe manufactur ‘This product either alone orn coiination with an amplier tnd Neadphones or speakers, may be capstle of producing curd lvls Nal coud cause permanent earing oss. Do ot operate for along period ot tne ata 1igh vlume ove br ata vol that © urcamonabie. you experiones any earng lose or nogng m the eae, you should oneal oh sodilogs. “The product shouldbe local 3 that ts aeaton or poston es not rere wih ts proper vn. ‘Th product shouldbe located away em hat sources such as radiators, heat tegistors, of eer pred hat produce neat The product should be connactes to 3 power supply ony of «he type descibed in he operating nstuctons or ae marked on the produc. GROUNDING INSTRUCTIONS 8. The pomorsupply ces ofthe produc shout be unplugged fram the oul when let unused for along perio of tno 9. Care shoud be taken so that abjocs do et fal and auids fre nat pill nf he enclosure trough openings 10'Thepraduct should be serced by quallied sence peteonnet wher 1X The poner supty corso he plug has been damaged or . Objects nave alen, r hgud hae Bae spied ito the producto Cc. The product has baen expose totale of Tho product does not appear to operate normally oF uns a makod change m partormance; oF The product has been dropped, oF the enclosure damaged 11.0 ol atempt to sence the product beyon thal doscibod In the usermaitanance innetons. AN other sorsing ‘Should be ratored to cualiod svc porconna, For the USA. ‘This product must be grounded Il rshous malfunction or breakdown, grounding rouse & patho east resstance fr ‘act cent o reduce the rk a elcie shoo “his product is equppad wr a crs havg an equpment-groundng conductor and a grounding plug. The plug must be phigged nto an appropnate oul that ie propery stale ans grounded in nezordacee wi) al gel Code and wrdaarces. DANGER: Improper canton of he equpment grounding conductor can result in ask ofelacre shock. Check wih a {ualied elecrian or sereman I you fen doubt as to whether he products propery groundea Bo ot moaty the plug proved wih ine produc —i twill not Ht he outlet, have a propor lot nse by a qualified WARNING: THIS APPARATUS MUST BE EARTHED For tho UK, IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE, (GREEN-AND-YELLOW. EARTH, BLUE. NEUTRAL, BROWN: LE -Asine colours ofthe wires he mains lad his appaalue may not corespond wih the coloured markings ideniyng tho terminal in you pg, proceed as flows "he wire wich coloured GREEN-ANO. YELLOW ml be connected to the terminal nthe plug which s mated by te ler €or bythe satay earth symbol Dr cloures GREEN of GREEN: AND-YELLOW, “The wir which i aloud BLUE must ba connected othe erminal which s marked wth he lett No coloured BLACK. ‘The wire which colored BROWN must be consected to he leaminal whch marked wih te leer or eoured RED. The product whichis equipped wih 2 THREE WIRE GROUNDING TYPE LINE PLUG mus! be groundedSING THE UNIT SAFELY INSTRUCTIONS FOR THE PREVENTION OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS, ‘About AX WARNING and ACAUTION Notices ‘Abou the Symbols Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly. AX\WARNING Used for instrictions intended to alent the nser tothe rsk of injury or materia damage should the unit be used Improperly * Material damage refers to damage or other adverse effects caused. vith espect to the home and all ite | furnishings, as well. to domestic animals or pet AS CAUTION The Zi symbol alts he wae fo Tporant matrosions] cr warnings The spectic meaning of the symbol 3 | determined by" the design ‘confaned within. the| trang th the caw of the Syl at et is wed or neta caution, womngs, or alerts to danger Te © symbol alers de er oem thet must never] be carried out are forbidden). The specie thing ta @ | must not be done is nds by the Geign conned tethin the itl. Inthe case of the symbol. a et means thatthe ut must never be dsaer ble The @ symbol alerts the user to things that must be carried out. The specific thing that must be done is g [tetas the design contained within theese Ih the case of the symbol at left, t means that the power- cord plug must be unplugged érom the outlet ALWAYS OBSERVE THE FOLLOWING ASWARNING ASWARNING crtsetedteorensimet ne AS = Dene pen eso ay tea metctine @) + Ao among the per od Do not ber) trcsiely apo place het sets on ‘damaged cod can ena ecome heck o re harard Never use power cond ert has een damaged ‘In households with small children, an adult should provide supervision unti the child is capable of fo lowing all the rules essential for the safe operation ofthe unit (Genter 4 + Doo fore the ui’ poersuppy cord to store ©) an outlet wth an unseasonable nue of ober devices. Be especialy careful when using extension corde—the total power used by ll devices you ave connected fo the extension cords outlet mast never enced the poser rating (atts /amperes) for te extension cord. Excessive loads an cause the insu tion on the cord fo. heat up ard eventually melt through + Before using the unit ina foreign country, consul with your retailer, the nearest Roland Service Center, of an authorized Roland di eon the “Information” page tor, 38 ist AX CAUTION. «Always grasp only the plug on the power-supply cord when plugging into, oF unpligeng from, an ‘outlet o this unit Tiagbi aus ensced otis nest eS + Never cin tp of nor place heavy objets on ©) the unit ‘+ Never handle the power cord or its plugs with wet @ hands when plugging into, cf unplugging from, an outlet or this unt + Before moving the unit dco the power is BE from the outlet and pul out al cords fom extemal + Before cleaning the uit, tum off the power and npligthe power cord from the outlet + Whenever you suspect he ost of ighing i your are, pull he plug on the power cord ut of thecutletMain Features of the SC-880 ‘© Supports General MIDI System/GS Format The SC:#80 is «sound module compatible withthe General MIDI system, It can be used to play back any music files (General MIDI scores) bearing the General MIDI logo. The SCAM) is also compatible with the Roland GS forma. It can te use to play ack any musi files beating the GS logo @ Sound Generator with a Generous 32 Parts/64 Voices ‘The SC-880 isa 52-part, 64-voice multtimbral sound mod: ule. A single SC-880 can produce the sounds of a large ensemble, It is the ideal sound module to use with sequencers or personal computers (P. 115) ich Variety of High-Quality Tones The SC-80 contains 1,117 high quality tones an 42 types of Rhythm sound se (including 3 sound effects sets). These sound include the same sounds as the SC-5/SSmkll and SC:8H/8 Pro, allowing SC-55/SSmKIl and SC-88/8 Pro song data tobe played back correctly. p.95, 102) © Full Complement of Effects A wide variety of effects are provided: 66 types of mult effects, eight types each of reverb and chorus effects, 10 types of delay, and a 2-band equalizer. in addition, the val nes of relevant parameters can be set for each effet, allow ing profesional-level manipulation of sound, (p. 40) @ Create Your Own Sounds ‘There are 256 user tones and 16 aser Rhythm sets, allowing you to create your own tones and Rhythm sets. (p. 28, 34) By editing sound parameters suet as vibrato, filter, and envelope, you can modify sounds to your taste. (p. 28) @ Patch Mode Lets You Create Complex Sounds “The SC-880 provides a Patch mode, which Its you layer up to parts to create complex sounds 256 different immediately usable patches are provided, mak- ing the SC-880 ial as an expansion tone module for your keyboard You can create 128 different user patches, and play using your oven eriginal sounds @ Performance Mode Lets You Enjoy Ensemble Playing Immediately The S860 provides a Performance mode, which semen ters the setngs forall 32 pars. You cn as the 8 ferent performances imeditely to asi! you in resting songs You can also create 8 user performances which contain your ‘wn original settings. © Phrase Preview Function for Easy Auditioning The $C-880' Phase Preview function makes i easy tau ton tones or paces. A phrase appropriate forthe selected be played. This feature comes in handy ‘when you want to checkout a sound, or have patch or tone ick listen while editing @ Enhanced Visibility Display The large display graphically provides easy visual confirma tion of settings, such the volume fr each pat © Direct Connection to Your Computer The computer connector allows the SC-80 tobe disctly connected toa ptsonal compet. 115) @ Easy Connection to Other Devices Aaio input jacks with input level adjustment alow you to connect another sound generator, and output that sound mixed with the SC-880's own sound from the audio output jacks. Additionally, two sts of output jacks are proved. (Quick Sar 3) [General MIDI System ‘gwen “The General MIDI system is a set of recommenda: HMI ions which seeks to provide a way to go beyond the imitations of proprietary designs, and standardize the| MIDI capabilities of sound generat erating devices and music files that meets the General MIDI standard bears the General MIDI logo (if). Music files bearing the General MIDI logo can be played! back using any General MIDI sound generating unit to produce essen lly the same musical performance ng devices. Sound en IGS Format BF TS Fama (Gi Kaan wtf pc tions for standardizing the performance of sound generating devices. In addition to including support for everything defined by the General MIDI System, the highly compatible G$ Format additionally offers an expanded] number of sounds, provides forthe editing of sounds, an| spells out many details for a wide range of extra features, neluding effects suchas reverb and chors Designed with the Future in mind, the GS Format ean readi- ly include new sounds and support nev hardware features when they arive ince it is upwardly compatible with the General MIDI System, Roland's GS Format ie capable of reliably playing back GM Scores equally as well as it performs GS Music| Files (music files that has been crested with the GS Format in mind). This product supports both the General MIDI system and! the GS format, and ean be used to play back music files er rving either ofthese logosImportant Notes =." Power Supply 1 Do not use hit ito he same perce with any device that wil generate ine noe teh as am ect retor orvcble ign tem). © Defre connecting suit eee devices, tu of the peor foal us This wl help prevent malfnetins toda damage to spears rer devices Placement (© Using the unit near power amplifies (or other equipment ‘containing large poser transformers) may induce hum, ‘To alleviate the problem, change the orientation of this unit; or move it farther away from the source of interfer. (© This device may interfere with radio and television recep: tion, Do not use this device in the vieinity of such © Do not expose the unit to direct sunlight, place it near lovices that radiate hea, leave it inside an enclosed vehi cle, oF otherwise subject it to temperature extremes Excessive heat can deform or discolor the unit Maintenance © For everyday cleaning wipe the unit with a soft, dey cloth fr one that has been slightly remove stubborn diet, use a cloth impregnated with » dampened with water. To mild, nonabrasive detergent. Afterwards, be sure to wipe the unit thoroughly witha sof, dry cloth, © Never use benzine, thinners, sleohol or solvents of any kind, to avoid the possibility of discoloration and /or deformation, Repairs and Data € Pease aware ht al dta contained in the uit mem ory may be fst when the unit sent for reps Important data shuld slays be che p in aathr MIDI device (ea sequencer or wen down on paper {when peste, Dring rept, due cate taken Seid the ls of data, However, eran cases (ch 2 then ciety cated to memery sel set of orden we eta may ote pole to etre the dt Sra ofan assmes no init concerning such ssf ‘oe Memory Backup © This unit contsins a battery which powers the units memory crits wile the main power i af, Whon this battery becomes wen, the message shown below wil appear in the display. Once you se this message, have the batery replaced witha fresh one as soon as possible to avoid the les ofall dat in memery. To have the bat tery replaced, consult with your retailer, the nearest Roland Service Center, of an authorized Roland distribu to, a8 listed on the “Information” page: ‘Battery Low’ Additional Precautions © Please be aware that the cotents of memory can be ire trievably lost as «result of malRnction, or the improper ‘operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you peri- cdically save a backup copy of important data you have stored in the unit's memory in another MIDI device (eg, a sequencer) © Unfortunately, it may be impossible to restore the con tents of data that was stored in anther MIDI device (eg. 2 sequencer) once it has been lost. Roland Corporation assumes no lablity concerning such los of data (© Use 2 reasonable amount of care when using the unit's buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to mal: functions. (© Never strike or apply trong pressure tothe display (© When connecting / disconnecting all cables, grasp the connector itselé—never pull on the cable, This way you will void eausing shorts, or damage to the cable's inter ral elements (© small amount of heat will inte from the unit during ‘normal operation. © To avoid disturbing your neighbors try to keep the unit's volume at re You may prefer to wse head: ‘phones, s0 you do not need to be concerned about those ‘around you (especially when i is ate at nigh) © When you need fo transport the unit, package it in the ‘box (including padding) that it came in, iF possible Otherwise, you will need to use equivalent packaging materials. sonable levelsIMPORTANT SAFETY INSTRUCTIONS 2 USING THE UNIT SAFELY. 3 Main Features of the SC-880, 4 Important Notes 5 Front and Rear Panel 8 How to Read This Owner's Manual 10 Chapter 1. Overview of the SC-880 How the Sound Generator !s Organized 1" ‘The SC-880's Basic Unit of Sound: the Tone 0011 ‘Combining Tones to Create Sounds: Patches one Tl Playing Rhythm Instruments: Rythm Sets. L Playing an Ensemble: Performance n Applying Special Effects to the Sound: Ee... 11 ‘About the Memory Areas, 12 Memory for String Overall etn Sytem Memory. 12 [Memory for Paying and Eating: Temporary Area 1. 22 Rewritable Memory: User Memory. 2 [Non-Rewritable Memory: Preset Memory 2 ‘The SC-880's Modes. 2 Performance Mode. B Patch Mode 2 Tone Mode 1B Rhythm Mode. 18 “Multi-Etects Mode B Systom Mode B Ualty Mode. B ‘About the Screen Display and Operation 13 ‘The Upper Pat of the Display B ‘The PART Display B About Pages 4 About [INFOI. 15 ‘About [WRITE]. 15 ‘About Parts and Tones... 16 Assigning Tones to Parts 16 Making Vatition Tone Settings v Reading Tone and Variation Numbers "7 The MIDI Channel ofa Pat 18 Which MIDI IN Will Be Used by Each Parson 18 How Polyphony and Voices Are Related. 9 Concerning Legate-Enabled Sounds. » Chapter 2. Patch Mode Settings ‘About Patch Mode 20 Selecting a Patch 2 Saving Patch, Saving a 9 Performance Creating a Patch (Patch Edit Mace) Naming a Patch Making Settings that Atfet Al Pats Tone Edit Mode stings for Each Part Settings fr the Output of Each Part 2 MIDI-Relate Settings for Each Part Settings That Determine How a Part Will ound...27 Tone Parameters for Creating Sounds: 23 Parameter Functions 2» Applying Real-time Changes o the Sound 30 Creating and Saving a Sound (User Tone) ..... 32 Rhythm Mode seman 38 Specifying the Rhythm Parts. 3 Selecting a Rhythm Set 2 ‘Crcating, an Original Rhythm Set (Rhythm Eat). 34 Saving a Rhythm Set 36 Chapter 3. Performance Mode Settings ‘About Performance Mode. 37 Selecting a Performance 37 Saving a Performance 38 Creating a Performance (Performance Edit Mode).. 38 [Naming a Performance... 3” Tone Edit Mode 99 Parameter Settings 3 Chapter 4. Applying Special Effects to the Sound (System Effects How the SC-80's Efects Are Siuctuted AO What Are System Efe? 0 What Are Mul iets w0 Applying Reverberation tothe Soun (Reverb). 42 Reverb Setings an the Functon of ach Parameter. 42 ‘Adding Breadth to the Sound (Chorus) 43 (Chorus Settings andthe Function of Each Parameter. 43 ‘Adding Echo to the Sound (Delay) 45 Delay Settings and the Function of Each Parameter... 45 Seiting the Send Level (Reverb/Chorus/Delay)... 47 Moaitying the Tonal Character (Equalizer)... 48 Equalizer Stings and the Function of Ech Parameter... 48 Turing the Equalizer On/Off for Esch Part. 48 Chapter 5. Applying Special Effects to e Sound (Multi-effects| ‘About Mult-Etfects o 49 Selecting a Multi-Effects 19 Saving a Multi-Effets, 49 ‘Making Mult-Etfects Settings 50 ‘Adjust the send level 50 Settings Made in Multi-Etfect Mode 50 Using Controllers to Modify Effect Parameters... 51 ‘Types of Mult-Etfects 52 Individual Effects 53 Multiple Effects Connected in Series °° Two Effects Connected in Parallel 83 Examples of Using Effects Controllers 90Contents Chapter 6. Setting Up Your Preferences ‘About the System Mode se snows 92 Power-on Settings 92 Adjusting the Display Contrast 92 Selecting the Power-on Condition 92 Turning Efects On/O}t seen 92 “Turning the Mult-Elfect On/Oif 92 Turning the Revecb On/Off 92 “Taming the Chorus On/OF 92 Tuming the Delay On/Off 93 Turning the Equalizer On Of 93 Sottings Related to MIDI Message Routing... 93. MIDI Output Setting 3 MIDI Input Setting, 98 “Modile Mode Receive Switch Setting 9 Device 1D Number Setting sone 94 Listening to General MIDI/GS Song Data 95 Using MIDI Mesagsto Select Patches and performances. 95 ing the Model ID. 95 ‘Sound Generator Related Settings. 95 Limiting the Selection of Tone Sets. 95 Listening to Just One Pat. 96 ‘Changing the Volume Ratio with Other Pats... 96 Enabling the Output Destination Settings. 9% Selecting the Operation When a Patch Is Selected. 95 Keeping Settings from Being Initialized 97 Presering he Outpt Destination Sting fom sai. 97 Preserving Mute Settings from Initialization on 97 reserving Equalizer Settings from Initialization... 97 ‘Settings related to the Phrase Preview function... 97 Specifying Hovr Notes Wil Sound 7 Selecting the Notes That Will Sound. o7 Selecting the Volume ofthe Notes Tha Sound 98 Soreen Display Settings... 98 Setting the Volume Level Display Format 98 ‘Setting the Maximum Volume Level Display... 98 Chapter 7. Utility Mode Settings About Ullity Mode sennnnnnnns 9 ‘Saving Sound Generator Seting onan External MIDI Device 99 Transmitting a Bulk Dump. % Transmitting individual Dats 100 Using the SC-880 As Two Sound Modes nn. 10 Initializing for General MIDUGS. 102 Selecting the CM-64 Sound Map, 103 Part-Related Functions. : 103 Copying Settings to Another Pat. 10s, Deleting Settings 108 Exchanging Settings with Another Part 104 Bringing Back the Factory Settings 104 Returning All Dats to the Factory Settings... 105 Returning a User Patch to the Factory Settings .n. 105 Chapter 8 MIDI and the SC-880 ‘About MIO! ws 106 How MIDI Messages Ate Tansmiied and Received. 105 MIDI Channels and Multinbra Sound Modules... 107 MIDI Messages That Can 8e Received by the SC-880.. 107 Using MIDI Messages to Select Sounds Using MIDI Messages to Select Rhythm Sts Exclusive Date Addresses. Using NRPNé with GS Sound Modules ‘When Song Data Plays Back with the Wang Suns. ‘ow to Use Pat Other Than Part 1.5 Rhythm Part So ‘That Two Rhythm Sts Can Be Used Simultaneously. 113 Using Afterte na Using MIDI to Control the Depth ofa System Effect. 1 Chapter 9. Using a Personal Computer to Control the SC-880 Connections with Your Computer. 115 ‘Connections with Computer Connector. us ‘Connections with MIDI Connectors ne MIDI Data Transfer with the Computer u7 Connecting Another MDI Sound Generator tothe SC-860... 19 ‘Using Another Sound Generator to Play Data Received atthe Computer Connector. n9 ‘When Using Another Sound Generator to Pay Data Received at MIDITN A. 9 \ppendices: Troubleshooting 120 la Message Appears. 2 22) Quick Reference of Displays 123 Tone List, 128 Rhythm Set List 138 Multi-Etfects List 151 Muiti-Ettects Parameter Value Conversion Table. 164 Preset Patch List 168 Preset Performance List. 174 MIDI impiementation 178 MIDI implementation Char... : 208 Speciications sens 209 Computer Cable Wiring Diagrams. 210 Index ait > G5 (4) isa ngistert trademark of Roland Corporation * Apple isa reiseratdnadomankof Apple Compaen, ne * Macintosh isa restr radar of Appl Conte, be AIT product mes mentioned this document are tndemnrs corregisterad trademarks of tr spectFront and Rear Panel Front Panel RHYTHM Button——————)_ WRITE Button Forselcing yt Set Sec ving etme ©) rhythms, or multi-effects TONE Button——————)_ | _| thayou've created. (p15 Forsceting tes (p.23) a PATCH Button—— Pressed to view a For electing Patches. (p20) vey firma PERFORM Button UINFO} button sso Fovselecing ] fection ab D1 PHONES Jack Perfomance (9.37 tmessoge inticator {psi of stereo headphones can | | | whic gts hen a ‘connected tothsjack Make’ PART Button j MIDI mesge's Stretiatthey Raveanimpedance | Prove selection of | saved | ete-isochae (Quek Surtp 3) | part The eumenly Exead parwitce | | POWER Switch Display SowniatePartied || This tums the Dispayeavaity of | inthe upper of the poweron/of_ | treme het pet aatny | | | SSS» | LL} | 2.0 5 cunson Button — [eros rethesctomove the Usethis to maxify the Ueethstbton tunorinthedloply or value ol aseting | return tothe ble Ginkepape pt) Myoupesttedatas | | | | | serenvortocanete i ponte | | | |] tation VOLUME Knob will change more | the display. (PHRASE PREVIEW) apy Tris adjusts the volume Insome cies, you can ENTER Button ofthe OUTPUT tack pros thea view Tresed to get the changes fd PHONES ck Faris inthe Yyou'vemadeinavalucto ‘When pressed, the display. (p. 14) take effect Phrase Preview fiction Ifthe ersorislocated at DQRESr Slowing.” MEFX Button ——— paramos you can press these loprodue —Frseeing utretiets (9.0) | | | [ENTER)trasnithe ep) sang of tat paraeter sountby .97—ore Button eo Mibtmesage Presed io enter the Eat mae ey system Button —————! Luvury Button Presed fener he Sytem mod, Pressed focntr the Uy where youcan make eins fr ee een thesound generator (p92) {Piz cet ad copy dete o xchange art eoFront and Rear Panel Rear Panel MIDI IN B Connector “Messages that are input here willbe received by MIDI parts BOL-B16.(p. $3) "The np! Mee setting will determine hethr part group A or part group B ol revive messages, MIDI IN A Connector [OUTPUT 2 Jacks Messages thatareinput here willbe reeled | These provide outa of Dy MIDI pats AM-AI6. (p24) thelist sound, + Te inpat Modestingwildeternine whether | tanprocesed by the INPUT Jacks unt rns or prt gro Bl rie | fe (p24 p-Aécept input of messes At the factory settings no | aad froman Sound il boutput fom | extemal device. IF MIDI OUTTHRU Connector———~) tse aks Yost are using this This connector functions ether as MIDL Receive Channel: ROL CEL Number 16, ee Nunbert, 2 HE ox. Popes it agg ep gee ‘To move between pages, use the VALUE dial or CURSOR [10> 1. 4 © Using the VALUE dial to Change Pages When using the VALLE dial to change pages, you can access 2 dlspay showing alist of men names, and rapidly select the desired page 1. Press PATCH}{TONEHEDIT (te indicators ligt “The allowing dpplay will appear 2.Use CURSOR [ ft] 10 move the cursor to the menu = => 108 orf 3. Press VALUE dil A list of the ments names will peat =p TONE EDIT HEN =o} Hode. EE fo = pe Toe err EW ae Modulation Fee | conser USER Tone, | on Brker | Tagg | ng ge hw we TT ren 4, Rotate the VALUE dial to select the manu name ‘5. Press [ENTER] or the VALUE al to move to the selected page, © Using CURSOR [ ~] [>] to change pages ‘When using CURSOR { 8] [| to change pages, you can step through the pages one ta time 1. Press [PATCHHTONEHEDIT) (the indicators light). “The pages will appear as follows. mag Op ge aS 108 orfChapter 1. Overview of the SC-880 2. Mak sre thatthe crsoris baie athe men nae IFitisnt oad at the men name, press CURSOR 0 ‘move the cur fo the mena name '3.Use CURSOR | <4 ] [ ] to change pages. 1 when the cursor 8 located ata parameter, y CURSOR 4] ™ }10 change pages About [INFO] In Performance mode and Pach mode, the bar ndator will show only 16 parts at «tine; eller Part Group A or Pat Group B, whichever is shown inthe display, However i you press [INFO], the bar indicator forall 32 parts will be Tene _ FENTERD, COMET When in Patch mode, pressing [WRITE] will select the “Patch Write” page. In this way, pressing [WRITE] from each mode will automatically acess the appropriate Write ‘mode, co there is no new for you to select pages manually, * For deta efor to appropriate reference page. 15 eaChapter 1. Overview of the SC-880 LL About Parts and Tones The SC-880 is able to produce 32 diferent kinds of sound at ‘once, An instrument such as the $C-880 2 single unit whieh ‘can simultaneously produce many sounds, i called ¢ mlti- timbral sound generator. A timbre i an instrumental sound, Being able to simultaneously play 32 sounds means that you ‘can use 32 differnt instruments a once. In other words, you can erente an orchestes-like ensemble of 32 musical parts, In the SC-880, the sound selected for each Poti called a Tone. (Tone List, p. 128-137) You can assign the sounds you want to each of 32 Parts to create your own ensemble. ‘There are two kinds of Parts—Normal Parts and Rhythm Parts. This is known as the Part Mode (p. 27). Normal Parts are used for playing melody or hase lines. Rhythm Parts are used for playing percussion instruments “The SC-#80 has three tone sets Tone Set 1 contains the same sounds as the SC-55/SC-55mkll, Tone Set 2 contains the same sounds as the SC-88, and Tone Set 3 contains the SC- {80's original sounds. (p. 17) Here’ how to select tones or tone sos to try out the sounds. * Fordetis about Part Mode, refer top. 27. Assigning Tones to Parts 1. Prose [PATCH] he inca 2. Rotate the VALUE dal to slet*P-000 0-880" 3. Press TONE! the inca ights 4,Use PART [<4] [=] to select the part for which you ‘wish te make tone eatings, Press PART [ | [Be ] to select the part number shown in the display: "AOL A16, BO. B16”. 5. Use CURSOR [ 8] [=] 19 move the cursor tothe tone umber. ag ez Piano 1 6. Rotate the VALUE clal to colt the tone that you wish to assign to each part Rhythm sets will be selected for the rhythm part, 16 ‘Displaying the bar indicator In Tone mode | tn Tone mode, you can press [INFO] to select tones while @ About Tone Finder Function ‘The SC-880 provides a "Tone Finder You to quickly find tones ofa specified eategory, function that allows 1. Press [FONE] (the incicator lights). 2. Press the VALUE dial The Category Search page will appear. Tones are classified into 16 diferent categories. Piano =r pee] Be CATERORY_ => ‘Guitar Organ Ehran Perc | Sass. Guitar organ... Penton. | nas Str8Orch ippinesisnienieieam] (Eerils mR t ing ire ng ge ee f TEGORY ema > | Brass oom Pare, ras Sunth Leag | Reed Reed [unth Psa. | Pipe ‘Synth Lead ag pee] SMM Pad Ag bE | synth SEX 7 TERORY os [esecussive i Bane | Sex Porcussive ‘3, Rotate the VALUE dial to select "Category." and press the ‘VALUE dial. * To cancel your selection, and return to TONE MODE, prese extn ‘4, Atone in the chosen category ie selected. Won you chose a category, He lasts tone te category ve be seletChapter 1. Overview of the SC-880 © Using the Same Sounds as the SC- 88 or SC-55/55mkil 1. Pras [PATCH] (the Indicator Hight). 2. Rotate the VALUE lal fo selec *P-000 SC-860." {3 Press [TONE] ithe indicator lights), 4. Use CURSOR [ 4] [ ™ ] to move tho cursor fo the tone sot number rr Tone set ‘5. Rotate the VALUE oialto select he tone set. (On the SC-880, you can select fromthe following three tone Tone Set 2: The same sounds asthe SC-8. Tone Set 9: The original tone set ofthe SC-880, + The CM64 sound map cm asa slots. (p.105) * fy wish to remotely change the tone a tone set of par from another MIDI device, refer to page 110 Sone of the tones ofthe SC-880 wl 0 sound a ‘given pitch, Thi becuse the sounds hae been crates! based ‘on the pitch range Ht the actual instrument able to cover. (or bon) * You en eit tone fo your taste and store tas wer fe (p32) Making Variation Tone Settings advo hte tne set of the SCAB onan bison ial ones” ae sounds with dering timbre! nuances vatation tones” The procedure on he Previn ap es you set rm the 128 capital toes (ane Int. E17) Toscet aration ones use telling procedure 1. Poss [PATCH] (he nator ots) 2. Rotate the VALUE cata select “P-200 S880" 8 Press [TONE] the neato gts), 4.Uso PART [a] [] 10 soloct the part for which you igh to make tone settings. 5.Use CURSOR [=] [m] to move the cursor to the Variation number. LL Vaviavon number {6.Rolate the VALUE ditto select the Variation numb. * IF he port has len spvfiod a the yt port (27), 8 ot posible to select variations. This because rythm ses do not lave rations. + Variation numbers arent aon continous + The CM-6 tone map consists of taint tones of tone st 1. (Original tones that you yourself eet (p. 32) oil he nariation tones of tome st 2a tone st 3 Reading Tone and Variation Numbers ach our (Gone) ofthe SC-880 hs two ries an Tone umber anda Vration umber, Sounds with Variation umber O00 are Capitals, and the sounds With numbers other than 00 ae Varios Tone set 1 Copal ionee |); eed, Sere = [2 ce | ee ES “one nue Catal tones 7Chapter 1. Overview of the $C-880 The MIDI Channel of a Part To each of SC-80's 32 Pats, there is assigned a tone and als a channel. Channels are a concept used in MIDI to distinguish potes that should be played by ferent tones in an ensemble, Normally, there is no need to change the channel of a Part, when using the SC-880, However, i could sometimes be Interesting to set two Parts to the same channel, so two souncs simultaneously play the same musical line. To change the MIDI channel ofa Part, use the following procedure * For details about MIDI fer top 106 1.Pross [PATCHL{TONE] (the indicators fight). 2.Use PART [ <4] [P=] to select the part whose settings you wish to change. ‘3, Press [EDIT] tha incicator lights). You will enter Tone Eat mode 4. Use CURSOR [ A] 9 move the cursor to the menu ‘5, Select “Rx MID,” by rotating the VALUE dia “Rx MIDI" settings occupy four pages. Here we will select the first page 6.Use CURSOR | A} Y] 10 move te cursor to "Receive Channel” ag Bx HDT aces > 7. Rotate the VALUE dial to select the Channel The "Receive Channel” indication will change to "AOL.AI6 A~ BOL.BI6 B-”selet the desired MIDI channel number. Parts for which you specify “A~" or “B-” will ignore all [MIDI messages other than system exclusive messages, and therefore will not sound, Which MIDI IN Will Be Used by Each Part? ‘The SC-890 has two MIDI IN jacks. This is because there are ‘only 16 MIDI channels, making it necessary to have two MIDI jacks in order to play 32 Parts Parts ate clnssifid into Part Group A (AOL-AI6) and Part Group 8 (BOI-BI6), with sixteen in each group. The MIDI channel assigned to each Part is alzo displayed in two groups as AUI-AT6 or BDI-BI6, At the factory settings, Part groups ‘Aand B correspond ¢9 SC-S80's two MDL IN jacks A and B. In other words, MIDI messages received at MIDI IN & are sent to the Part group A. and MIDI messages received at MIDI IN Bare sent to the Part group B. For example, a MID message on channel 5 received at MIDI IN B wil sound Part 5 of Pact Group B (BIS) (with the factory’ setting). * Re aoa thal the way in roi the date fs sont from the a9 [MIDI IN jacks tothe sarious Parts will depend othe setting of the "Receive Connection” System paremter (put Max 94), Also, Exclusive messages recived at MIDI IN A cam be pss on to Part part group B,deponaing on the specified adres. (p. WD Pan group A Par Agt MLN A Pant group 8 moun 8 eo i Pan 86 03 SoeChapter 1, Overview of the SC-880 1 How Polyphony and Voices Are Related The sounds of the There is a limit to how many of these voices can sound at ‘once, and in the case ofthe SC-880, up to 64 simultaneous voices can be used. Some sounds (Tones) use 1 voice and ‘others use two voices (Tone list p. 128-137). The main rea- som that some sounds use two voices isto allow different timbres to be produced by diferent velocity values 1 more than 64 voices are used at once, Inter-sounced notes ‘will be given priority, so notes that have already been sounding willbe turned off, beginning withthe oldest ones. Ifyou use only single-voice tones, you willbe able to play 84 notes simultanecusly; but if some ofthe tones use two Voie {880 consist of units called volees. «5, you won't beable to get 64 simultaneous notes. Even if MIDI Note Off messoge (p. 107) is received, voices will be used for as long as the sound is heard. Keep this in mind when using sounds witha long release (p, 3), » if song date erated with 64-00ice playback in mind splayed ack on a sound moxule with fer 2oices, some notes will drop cout and the musical result wll nt be as it should. The SC-55 as 24 oes, and the SC-SBrsll has 28 rics. ™ Concerning Legato-Enabled Sounds ‘The SC-680 provides legato-enabled sounds, which are idea: Jy suited for legato playing, anel which can realistically sim- ‘late this performance technique. To understand this feature, conser how most string instew= ments produce sound. Ussally, a brief attacklike sound will be heard only at the very instant the string is made to vibrate. After that a much mellower, atack-free sound con tines to emanate during the sting’s vibration. The legato- ‘enabled sounds simulates such variable atack-portion char acteristics of string sounds by switching on oF off certain special voees within an Instrument according to the way the keyboard is played Any Instrument that has a":"at the end ofits name (such as "Violin" is a legato-enabled sound. ‘Tey out one ofthese Patches to hear how it works. I you are using a keyboard, play a note and keep your finger on that bey while playing another note. You should hear a distinct attack portion with the frst note you play, while the second one contains almost no attack ‘components, and sounds much smoother. Lets try using this tone to perform, 1. Press [PATCH-{TONE] (the indicators ght}, 2. Use CURSOR [to move the cursor to the variation umber. 3, Rotate the VALUE dial to selec “[2] 000/041 Vion” ‘4, Try out one ofthese Patches to hear how it works. You should hear a distinct attack portion with the First note you play, while the second one contains almost no attack ‘components, and sounds much smoother. At this time,” "wil be displayed following" ” ofthe tone Rg EE oe 1310007041 Y Violin 2k ee ‘5.11 you want to sound the tack portion each time, simply release your finger trom a key before playing the next note. At this time,” L” will not be displayed following ” "of the ADT Pg oe 1310007041 YViolin = << * Legato Control cannot be switched on and af om an individual Tone basis. Yu soul choose ad eit an Tee that matches your intended usage * The legato indication i show only inthe Tene Name sere of the Tone moe * Tones which support legato cn be selected only Tome Set 3 19 CeaChapter 2. Patch Mode Settings About Patch Mode In Patch mode you can play “patches,” sists of up to six parts ADI-AQ6 plus effect settings (system effects and multeffects) “The SC-880 provides 256 patches, each of which uses one oF more high-quality tones, and also takes advantage of func tionality such as effects to create the sound. (Patch List p 166-173) Jn Patch mode, you can create and save 128 of your own, patches as User patches. Settings that mode can be divided into those that affect all parts, and those thot are made independently for each part. Settings lfecting all parts are made in Patch Edit mode, while set tings that are independent for each pact are dit mode ch oF which eon nt make in Patch wide in Tone You eam also make settings for yrs AUT-ATB and BOI-BIS, and sae then asa User Peformance. (p21) + Al the fcory settings, preset patches oe strain P-OD1-P-128 (and ULOOI-U-28. Patches P-001-P-128 on paths skh we «4 maxinum of 2 parts, and are the same as the patches ofthe 5C-88 Pro, Paes U-OO1-LI-128are paths which nse wp 106 parts, and are wiqu othe SC-880, Figure shows how the Patch mode is organized. ‘The things that can be set in Tone mode, Rhythm mode, and M-PX mode are the same as what can be set in the Performance mode. For info on carrying out Tone of Rhythm mode editing while in Performance mest, refer to Chapter 2 Multi-ffect mode (M-PR) is explained in Chapter 5 (p. 4) = Each patch consists ofthe following structural elements Elements ofa Patch Tones for parts AOI-AQS and settings foreach past Pacometers common to al parts System effects settings Muli-etects setings 20 [Unused parts in a preset patch are st to thet inital values rs ‘rare Patches can be seleted only for Part Group A. and you can set parameters for effocs (system effect, multi-ffects) and {or parte AUL-AO6, By playing song data with Part Group B while you play the Past Group A Patches from a keybosrd, et, you can enjoy solo playing while adding unique effects Some sequencing software is wnable to transmit data from the computer cannector to play Part Group B. In this ease, set the Input Mode to "Xconnect” so thatthe Part Group B willbe played (p. 9). * if you select pate iv Double Mesule moe, the eualizer ad olay stengs sil be ignore Also, pth xa be siete fr Pot Group 8.Chapter 2. Patch Mode Settings W Selecting a Patch 1m the S880, you can select from 26 diferent paces: Preset pothes P.00-PI28, nd User patches 0.01-UT2R Preset patches have 4 “P* bef thet number, while wer pater havea "os ftew [Preset Patch user Patch ‘008 Uoar BEB “USER PATCH 001- 1. Press [PATCH] (the indicator ight). 2. Rotate the VALUE dial sect the patch. 1 you hold down the VALUE dial while you rotate i, the patch number will change in step of 10 Who epee mumibor reaches “P-128," the next selected patch sell U0." ‘When you switch patches, the settings of parts AO?-B16 wl bs Aetrmid by the "Patch Load Mode” setting. (p. 96) Saving a Patch Patches that you create can be saved as one of 128 user patches UOT U2 (p32) 1. Eaitthe pate. 2, Press [WRITE] (the indicator lights), 3.Use CURSOR { | to move the cursor tothe manu ‘4, Solect-Patch Wi 37 rotating the VALUE dial agp 7 Patch write Tene > U-801 5.Use CURSOR [ | to mova the cursor tothe user patch umber. 6. Rotate he VALUE dato soc he user patch rumber at ‘which you wish to save the data ‘User patches can be saved in the 128 patches U-001-U-128 7. Prass [ENTER You will be asked to confirm that you wish to save the patch Ifyou decide not to save press EXIT. 8. Pross [ENTER] to save the user patch. + When yo save a pal as user pty le patel at ws pre ‘ously toed in that loation ale he instrument if te factory vill be lost, IF you wish 0 reall He ftory-set pots, refer to 10s, ores Saving as a Performance You can save your settings as a performance which includes the patch. Settings for parts ADI-AOS ofthe selected patch, effects (system effects and multvelfects), and part settings for parts AO7-B16 can be saved as a user performance. The user performance that you saved can be selected from Performance mode. 1. Carry out the editing in patch mode. 2. Press [WRITE] (the indicator lights) 3.Use CURSOR [ A] to move the cursor to the menu 4, Select "Performance iit" by rotating the VALUE dla ay pea Performance write > ‘fone os CENTER CEXITI 5. Use CURSOR | ¥ ] to move the cursor fo the user per formance number. 6. Rotate the VALUE dial to eelect the user performance ‘number at which you wish o save the data. User performances can be saved in the 8 performances U- 6 7. Press {ENTER ‘You will be asked to confirm that you wish fo save the weer performance. If you decide not to save, press [EXIT] mag pe Performance Tirite Temp 9 Ut sure? fenreRy, fexT2 8. Press [ENTER] to save the user performance. 21Chapter 2. Patch Mode Settings Seen eee el Creating a Patch (Patch Edit Mode) ‘To crate a patch, you must assign a tone to each part of the patch, make settings foreach part, and make effect settings In Patch Edit mode, you can make settings forall parts and for the effect (aystem effects and mult-tfects). To enter Patch Edit mode, press [EDIT] from Patch mode. Parameters in Patch Edit mode ate set using the following procedure 1. Prass [PATCH] (the indicator lights) 2 Rotate the VALUE dial to select the patch that you wish to esi. 3, Press [EDIT] (the inceator ight). 44,Use CURSOR [ jf ] to move the cursor to the menu ‘5. Rotate the VALUE dla to select the page. 6.Use CURSOR [ A] V [<4] [J 0 select the para ‘meter whose value you wish to change 7. Rotate the VALUE dla ta adjust the value. Patch Bait made contains pages with the following menu Patch Name: Master Control Revero chorus Delay Equalizer MultFX Chapter 2 explains the parameters in the "Patch Name,” “Master Control” pages. * ages for "Reverb," “Chorus,” "Delay" and “Equalizer” are explained in Chapter 4 System Ect. For details on "Matti- FX," refer to Chapter 5 Maite * Since your iting wil afc the dta ithe temsprary area, the modified contents willbe lost when you change patches or stitch to Performance made, To kep your eis, you must save them to user memory. (p20) + A Patch whose poraneter settings have been motif will be Indicated by an asterisk (4) before the patch mune. @ Naming a Patch Inthe “Patch Name” page you can assign 3 name of up to 16 characters toa user patch 1. Edt the pate, 2. Press [EDIT the incicator lights) Enter the patch eit mode 3.Use CURSOR | 4] to move the cursor to the menu 22 4, Select "Patch Namo,” by rotating the VALUE dial 5. Press CURSOR { Y ] lo move the cursor to the patch == pe {6.Use CURSOR | t] [] to move the cursor tothe char ‘acter that you wish to change. 7 Rotate the VALUE dial ta selec he desired character. ‘The following characters can be selected ACE, 2-2, 0-8, BHI? ™4/ensO" IS%O¥ > 8. Repeat stops 6-7 to input the name. ‘9. When you finish inputting the name, press {EXIT} to exit, Patch Eait made When you finish inputting the name, press [WRITE] to save the data as a User patch (p. 21), IF you do not save the set tings asa User patch, the name you input wil be los. @ Making Settings that Affect All Parts In the “Master Control” page, you can make settings forthe following parameters whichafect all pats. Level Pan Master Tune Koy Shit @ Setting the Volume Level: 0-127 (Master Level) ‘This parameter adjusts the volume of all the pars. As the displayed value increases, the volume will increase. The basic Volume level ofthis entte unit is adjusted by the Volume knob. Ifthe volume kn is at minimum positon, there will be no sound even if you increase this parameter + When the Level is, there wil nosound coe fy mace the '8C-880's VOLLIME knob tothe simu poston. © Pan (stereo location) Settings Pan: L69-0-R6S Master Pan} “This parameter set the Pan (tereo poston forall the parts ‘As the displayed L value increases the sound wil move fu ther left, and asthe value increases the sound will move further right * For some tons, it of sun may Be ead frm the opps sper cen Pa has bee et ful efor gh If you are listening to the SC-880 in momo, Pan setings wil eo fc.Chapter 2. Patch Mode Settings h to Another © Matching the Instrument Master Tune: 15.3-466.2 Hz When you are playing in an ensemble with other instru ‘ments or ed ost the SC-B to match the pitch of another instrument, adjust the Maser Tune seting. The displayed ‘ale eg 40.0 Ha) indicates the frequency ofthe Ad nate’ Pie note number 69). @ Setting the Pitch of the Sound Key Shit: -24-0-424 Key Shift adjusts the piteh ofthe sound in semitone steps For example, if you were playing back song data from a sequencer, you could use the Key Shit parameter to change the key of the song without changing the sequencer settings. (Or, if you are singing along with sequence data, you can adjust Key Shift to move the song to the key most comfort- able for your voice. As the displayed value rises (fll) one step, the pitch wil se (fll) one semitone. This means that 12steps equal one octave. * Even if you adjust Key Shift forall parts, the pitch of the Rhythm Part wl ot be affect Tone Edit Mode Tn Tone Edit mode you can eit the settings or each part and the tone or hythm set that is assigned to each pat. Use PART [st] [=] to selec the part that you wish ost ‘The current pat willbe shown in the PART field ofthe dis- pay => Levelt 108 Huter Pant Settings for Each Part Use the fllowing procedure to st the parameters ofeach pert 1. Press [PATCH}{TONEHEDIT] te inicators tat You wil enter Tone Eat mode. 2.Uso PART (4) [P] to select tho part for which you wan fo make eotngs 3.Use CURSOR [ A] 10 move the cursor to the menu Folate the VALUE cial fo select the pages for which you wish to make setings. 5.Use CURSOR | 1 Y) [4] [Jt select the para- moter that you wish to modi. (6, Rotate the VALUE dil to adjust te value Tone Edit mode contains pages withthe fllowing menu Outpt Effect Send PMID Mode Keyboard Range teh Scale Tune Part Tone Mossy USER TONE Modulation Bender Channel Air Pal Alter cot coe * ages for “fet Se epi in Chapter 4 Systm Eft Settings for the Output of Each Part Inthe “Output” page, you can make the following settings related tothe output of the part Level Mute Pan Velocity Depth Velocity Ottset OUT Assign © Setting the Volume Level 0-127 (Pan Level Se ‘This parameter adjusts the vee of ech pat Higher va bes esultina louder sound © Muting Mute: OnvOH (Pant Mute) SE ‘This faction allows you to mute the sound ofa specific part otha it will not be heard When “MUTE""is tumed On, the part shown in the upper It ofthe display wil be muted. For example, you can use a sequencer to ply back a record ‘ensemble, and mute ane of the parts 0 you can play that ‘part yourself. The lowest dot on the bar display indicates the rte on of status ofeach part. The dat wil be of for parts for which Part Mates tured on * wera General MIDI System On oF GS Reset message (10, 110) is recive, muting wil be canceled If yo dono wish mat tbe cance, ur on Mus Lxk (9) 23 eesChapter 2. Patch Mode Settings @ Pan (stereo location) Settings Pan: Find, L63-0-R63 (Part Pan) Pan refers to the postion in the sero eld, For example you might place the drum set and bassin the center, the gue tar atthe right and the keyboard atthe lft. To place the sound in the contr, set this value tO. As the Lumber increases the sound will ove further tothe let and a the Renumber increases the sound will move further othe right With a stting of "Rod (random), each note wil be placed stan unpredictable cation apar CEN aaa Ra — ~ sg Sper + bn the ease of « Drum Set, te pan position fas been ied for en percussion instrument, djnating the Pa of « Dra Set sill hf the orale of wight * For some tones, some sound nay be Jenrd from the opposite seer ecen if Pan as ben fly tr right. © Uf your amppeer sytem i uonaurl, Pan wil lee n fet © Setting the Relation Between Keyboard Dynamics and Loudness Velocity Depth: 0-127 Velocity Offset: 0-127 The force with which you play a note on MIDI keyboard is transmitted a= MIDI Velocity data. Strongly played notes ‘ill have a higher velocity value. The Velocity Depth and Velocity Offset parameters determine the ation between the force of your keyboard playing and the loudness of the sound that results. If Velocity Depth Is increased, small differences in your plying dynamic wil make a large cilference inthe Ioud- tees of the sound (Fig). If Velocity Depth is decreased, even large diferences in your playing dyaiics will make only a small ference inthe loudnes ofthe sound (Fig). IF Velocity Offs is st higher than Si, even soil played rote (ie, notes with low velocity) wil be sounded loudly {Fig5)- I Velocity Offet i se lower than 6, even strongly played nots (ke, nots with a high velocity) will be sound ft soll Fig), * or some settings, there may be 0 sound If, increase Veloity Depth o Vly Ot. 24 7 I | i | 2 Ve Ot i i i i : = 3 2 2 sey Sie ‘ose Oe? 1 } } 2 i +4 : : ww Reena @ Setting the Output Destination OUT Assign OUT-VOUT-2Z0UT2LOUT.2R (Sk Specifies the output jack from which the sound ofeach part wail be output OUT-1: The sound together with the effect sound wil bo cutput in stereo rom the OUTPUT 1 jacks OUT-2: The direct sound without the eect sound will be output in stereo rom the OUTPUT 2 jacks OUT-2L: The direct sound without effects wil be output from the OUTPUT 24 jk. (The Pan setting will have no effect) OUT-2R: The direct sound without effects will be output from the OUTPUT 2R jack. (The Pan setting will have no effect) The hendpines ack sl utp the sound of OUTPUT 1. This ncn tat the sod parts sign to OUTPUT 2 wi nat te rd from the enn jack * This is valid only when Systers OUT Mode (. 96) i set to Selec. Be are that fi 8 set to Fixed, the aloe seis wil be gnora > Al the fctry settings al ports ae set to OUT. * The sound fom OLITPUT 2 is cup a a fie volume, una fected by the positon of the suo ke,Chapter 2. Patch Mode Settings — ™ MIDI-Related Settings for Each Part In the “Rx MIDI” page you can make the following MIDI: related settings foreach pat Receive Channe! C1 Number (oc2 Number Bank Bank L NRPN PN PC ce Mos Bend cat Pat Volume Panpot Expres Hovs-1 Ponta Soste Sot © MIDI Receive Channel Setting Receive Channa: AOT=AY6, A, BO1-B16, By This sts the MIDI receive channel ofthe part. @ Setting the Controller Numbers CCI Number: 1-95 ae C2 Number: 1-95 Specifies the contre numbers that will be used when cone trolling the CCI and CC2 parameters (p31 via MIDI For example if you st CCI Number 1 16 the value of an incoming MIDI controler number 16 message wil alfect the sound as specified by the setting of the CCI parameter. © Restricting MIDI Reception ‘The "Rx MIDI” page provides the following parameters, which allow the sception of MIDI messages to be aiored in Bank, Bank L, NAPN, APN, PC, CC, Mod, Bend, Cat, PAL, Volume, Panpt, Expres, Hold, Porta, Soste, Soft Bank: On/Off (Rx Bank Select) (Bank Select Receive Switch} 3 “To remotely stet the SCAB sounds from another MID device, you can send Bank Select messages and Program CChange messages tothe SC-80. 1 Bank i ted on, these MIDE messages can select Variation tones (p. 17 and User tones (p22) I this parameter is tumed of, Bank select mes- sages wl be ignored, mening that MIDI messages cannot select Variation tones or User tones (hey wil select Capital tones) Foe details on using MIDI messages t select tones, refer to pen, Bank L: On/Off (Rx Bank Select LSB) 2, When you wish to switch the SC-B8's tone sts from anoth- cer MIDI device set the lower byt (p. 178 of the Bank Select message to specify the desired tone set ‘When at “Bank: On" a setting of "Bank L" On wil cause the tone set to be selected by the lower byte of the bank select message. A setting of “Bank L” Off wl cause the lower byte ofthe bank seloet message tobe ignored, so that MIDI mes- sages will not change the tone set. When at "Bank: Of" the lower byte of the bank select message will be ignored regardless of when "Bank Lis turned On/Off, so that MIDI messages will not change the tone set NRPN: On/Off (Rx NRPN) [NRPN (Non-rogisered Parameter Number p. 109) messages allow you to modify vibrato, filter and envelope values (p. 179) vig MIDI Wf ix NRPN is on, these sound parameters ‘an be modified by MIDI messages. If Rx NRPN is off, this vel nt be possible + When a “General MIDI System On" fs Received, the Bank Set Receive and NRPN Receive itches il be Turned OFF. + When a "CS Reset” is received, the Bamk Selct Reine and LNRPN Receive switches wil be turned ON. RPN: On/Off 5, PN (Registered Parameter Numbers p. 105) are used when you wish to use MIDI messages to modify the Pitch Bend Sensitivity, Master Fine Tuning, or Master Coarse Tuning (p. 180) values. IF RPN js On, MIDI messages can be used to modify the values of these parameters. If this is Of, MIDI messages cannot be used to modify the values ofthese pata PC: On/Off Se Program Change messages can be used to remotely switch the tones of the SC-80 using another MIDI device. I“PC” is (On, program change messages can be used to select tones. I °PC" is Off, program change messages willbe ignored, s0 it will nt be possible to use MIDI messages to selec ones, 25 Chapter 2Chapter 2. Patch Mode Settings SL CC: On/OFF Se Control Change messages can be used to control the modu lation, pan, ete, of the SC-880 from another MIDI device. If "CC" is On, control change messages can be use to contol modulation or pan, ete. "CC" is OF, contol change mes sages will be ignored, s0 it will not be possible to control modulation o pan, etc, regardless of the On/Off settings of “Mod,” “Volume,” “Panpot,” “Exprs,” “Hold 1,” “Porta,” "Sosten,” or “Soft oem if “CC” is turtod Off chanmel mode messages will no be ‘ignored. (p. 180) Mod: On/Off “To control the vibrato ofthe SC-890 from another device, use ‘control change number 1, When “Mod” is turned On, control change number 1 will adjust the depth of the vibrato. If "Mod is turned Off, control change number 1 will be Ignored, so that it will ot be possible to use MIDI messages to adjust the vibrato depth, Bend: On/Off 5 ‘To convey the bender lever (or pitch bend wheel) move: ments of another device tothe SC-880, use pitch bender mes sages. When “Bend” i tured On, pitch bender messages will convey movements of the bender level. When “Bend” is turned Of, pitch bender messages will be ignoced, so that it will not be possible to use MIDI messages to convey move- ments of the bender level “The result of the bender level movements will depend on the sting ofthe “Bender” page(p. 31) AF: On/Off SE To convey channel aftertouch channel pressure) usage on another device tothe SC-880, use channel pressure mes- sages. When "CA" i tumed On, channel pressure messages will convey the amount of pressure that is applied to an external Keyboard, When “CAF” is tured Off, channel pres- stare messages will be ignored, s0 it will not be possible to use MIDI messages to convey the usage of atetouch, ‘The result ofthe atetouch will depend on the setting ofthe ‘Channel After” page. (p. 31) PAR On/Off 3 ‘To convey polyphonic aftertouch (polyphonic key pressure) usage on another device to the SC-880, use polyphonic key pressure messages. When "PAM" is turned On, polyphonic key pressure messages will convey the amount of pressure that is applied to an external keyboard. When “PAS is tumed Off, polyphonic key pressure messages will be ignored, so that i will not be possible to use MIDI messages toconvey aftertouch usage. The result of the atertouch will depend on the setting of the “Poly After” page-(P. 32) 26 Volume: On/Off 5 To control the part volume of the SC-880 from another device, use control change number 7 messages. When “Volume” is turned On, control change mumber 7 To convey soft pedal movements from another device to the SC-A80, use control change number 67. When “Soft” is On, control change numiber 67 can be used to convey soft pedal movements. When "Soft i Off, control change number 67 will be ignored, so that it will not be possible to use MIDI messages to convey soft pedal movements Settings That Determine How a Part Will Sound In the "Mode" poge you can make stings for the following parameter Part Mode Mono‘Poly Mose Assign Mode In the "Keyboard Range” page you can make settings forthe following parameters Low High In the "Pitch" page you can make setings forthe following parameters, Key Shit Fine Tune In the “Scale Tune” page you can make setings forthe fl: Towing parameters C8, D, 08, EF, FH, G, 68,4, AR, B © Specifying the Part Mode Part Mode: NormalRtythm Rhythm 252 For pats playing conventional instrument sounds, select Norm (Normal mode). For parts playing percussion of drums select Rhythm 1 of Rhythm 2. Rhythm Pats play a different sound (Instrument foreach MIDI note number (p. 107) In other words single pat can play many diferent percussion instrument sounds (Rhythm setlist p, 138-150) ‘The Rhythm 1 and Rhythm 2 Parts allow you to simultane ‘ously use two Rhythm sets, For example, f Rhythm Parts are set as shown below, when you change the STANDARD 1 Rhythm set of Part A10 to the TR-808, the selection for Patt ‘A12 will also change to TR-BIB, For details on how to assign a Rhythm set toa part, refer top. 33 Part name (Part Mode) __Name of inythm sat Pan Ao (Rhythm 1) STANDARD 1 Pat alt (Rhythm 2) Jazz Pant 12 (Phyth ) STANDARD + © Specifying How the Tone will Sound MopoiPoly Mode MonoPoly SE 1a partis set to Mono (Mono Mode), that part wil pay only one note a atime, Its effective to select Mono Mode for parts that ae playing a naturally monophonic instrament such as a trumpet of sx. Select Poly Mode for parts that are playing chords. * Fora Rhythm part, changing he MonoPoly Mode sein wit sata he sound © Specifying How Simultaneously layed Notes will Sound [Assign Mode: Singlo/Lid Mutu Mut 3 The “Assign Mode” sting speiis how nots will sound ‘when the sme key i played two or more times in an over- lapping way IF "Assign Mode” ist to Single, noes played ona key (noe umber) that already sounding wil ause the oder note to be enced and the new note wil sound init place. Fr the shythm part a sting of Singlet the default sting IF "Assign Mode" is eto Lint Mult (Limited Mult), notes, played ona key (note number that is already sounding will produce the impression thatthe notes are ovelaping, but thenumber of vices that will actully sound wil be ited to fewer than the actual numberof times that the key was pressed. For normal parts, Lt Mul ithe default setting. IF “Assign Mode” is st fo Fll Muli, repeated notes onthe same key will use as many voices 3¢ the numberof times that the kay was actualy repeated High C-1-G8 ‘The Key Range parameters determine the pitch range over Which the instrument will be sounded. Keyboard Range Low (the lowest note) and Keyboard Range High (the high: ‘st note) will determine the range of notes that will sound. ‘These values are displayed as key names. You can specify a Mii [LTT Lenn eee me For example, if you asign two parts to the same MIDI char nel and set the Keyboard Range of one to C-1-B3 and the other to C#-G9, Then you could assign different sounds to cach part, and play two different sounds on either side of (CA. Or, you could set the keyboard ranges of ta parts to ‘overlap, and layer the wo sounds 27 aedChapter 2. Patch Mode Settings —_—_——————— > the ocare that if Keyboord Range High i set to a note name Range Law there wil be no sow oer then Kegloe | EE ‘© Transposing Key Shit:-24-0-428 Ey This parameter transposes the part. As the value increases (decreases) the pitch wl ise (al) in steps ofa semitone. 12 steps make a diference of 1 octave, With a sting of 0 the Pitch will not be affected @ Making Pitch Fine Tune: -100.0-+100.0 ant HE Use this parameter when you wish to make fin adjustments to the tuning ofa part. Positive (2) stings wil aise the pitch and negative () settings will lower the pitch If two oF tore parts ae set to the same MIDI channel and the same tone, ou can spread their Fine Tuning settings apart to add rich depth and breath othe sound * To ijt the pth of al prs, se the Master Tune parameter (p23. + Totransoss the part sth KEY SHIFT parameter (2) ine Adjustments to the © Specifying the Pitch of Each Note in the Octave Seale Tune C-8: 64-068 Scale Tuning is a parameter that makes fine adjustments to the pitch ofeach note inthe octave. These settings ae for cone octave of notes, and wil simultaneously adjust he pitch ofthat noe In all octaves, By using Seale Tuning, you can Perform using a variety of temperaments other than equal temperament, Here we will give tre stings as examples Equal Temperament “This tuning divides the octave into 12 equal pats, and isthe ost widely used method of temperament used in western isi. The default sting ofthe SC-88's Scale Tune fun ts Equal Tersperament Just Intonation (tonic C) Compared with equal temperament, the principle triads sound pure in this tuning. However, this effect is achieved only in one key, and the triads become ambiguous if you transpose. Here san example ofthe settings for a tonic of C Arabian-Style Tuning ‘A variety of ethnic tunings can be achieved by using the Scale Tuning function. Here at settings fr a tuning repre- sentative of Arabian-style 28 les. Example settings (values are in units of eens) Nlename Equlamewament ston Arabians scale foie of) c 0 ° = ce ° 8 45 D ° 4 2 be ° +16 “2 E ° 14 st F ° 2 8 Fe ° 10 +3 6 ° 2 4 cr ° 4 “7 A 0 “16 ° ae 0 a4 10 8 a “12 49 M Tone Parameters for Creating Sounds (On the SC-880, you can modify the values ofa variety of parameters in order to eeate the sound most suitable for your playing, A parameter is something that affects the Sound. The process of modifying parameter values i called feting. Sound parameters affect the volume, Hane and pie ofthe sound You can set the following parameters. Vibrato: Rate, Dah, Delay Filer: Cutof Frequency, Resonance Envelope: Attack Time, Decay Time, Release Time ‘The “Part Tone Modify" and “USER TONE” pages contain the following parameters. Vibrato Rate Vibrato Depth Vibrato Delay Cutot Reso attack Decay Release Alor editing the parameter ofthe “USER TONE page, te elitedporameters wll not be saved even if you sae the atch of performance, After eliting parameters inthe “USER TONE” age, you mst sot them as a User Toe. (p. 32) * User Patches and User Performances contain any the parame ters ofthe “Part Tone Mai” page IF you wih to create w Patch or Performance which contains a User Tone, you should frst edit the “USER TONE” parane ters, and sce the resulting Tone a a User Tone. Tem assign the User Tone to 4 Port, ad save the User Patel or User Performance + A USER TONE whose parameter stings have been motifs col bc bya asterisk) ar the tse wueberChapter 2. Patch Mode Settings ™ Parameter Functions The values ofthe "Part Tone Modify” parameters are set for cach part. In other words, parameter values belong to pats, nd not fo sounds (Instruments). For example, if you set Vibrato Rate to +20 and then select a different sound for that part, the Vibrato Rate af +20 will apply tothe newly selected sound (not the inital value of 20) Parameter values that you set in "Part Tone Modify” are stored in the user patch or user performance, and not inthe user tone Parameter values that you set in "USER TONE” are set for the tone itselt The way in which the tone will actualy sound is determined. by the sum of the “Past Tone Modify” parameter value and. the “USER TONE” parameter value. For example, ifthe “Prt Tone Modify” parameter "Vibrato Rate” is set to #21 and the “USER TONE” parameter “Vibrato Rate” is se 10-5, the “Vibrato Rote” ofthe actual sound wil be 20-5245, MIDI messages can be used only to adjust the "Part Tone Modify” parameters, “USER TONE” values cannot be modi- fied using MIDI messages. ‘Actual Solr Parton met 20 4 @ Modulating the Sound (Vibrato) Vibrto created by modulating the pitch. Applying vibrato rakes the sound more expressive Dewy I Nete-on — Rae Dept Setting the Speed of Pitch Modulation Vibrato Rate: 64-463 Se ‘This parameter adjusts the speed ({requency) ofthe pitch ‘modulation. Positive (+) settings make the pitch modulation faster, and negative () stings make lt slower Setting the Depth of Pitch Modulation rato Depth: 64-469 CSE ‘This parameter adjusts the depth of the pitch modulation. stve (stings make the pitch modulation deeper, nd negative (settings make shallower. Setting the Time Until Vibrato Is Applied Vibrato Deloy: 64463 ‘This parameter adjusts the time required for the vibrato effect to begin. Positive (+ settings increase the time before ‘vibrato will bein, and negative setings shorten the time © Adjusting the Tonal Character (Filter) By moafyng the filter etings, you can contol th timbre (tone of the sound, The type of filters inthe SC80 are called Low Pass Filters, and allow only frequencies lower than a spcifed frequency to puss. This frequency is called the Cutoff raqueny. By modifying the sting ofthe Cutoff Frequency you can make the sound brighter or darker. The Cato Frequency can change overtime, controlled bythe “envelope” By adhustng the filer and envelope slings, You can rete sounds hat have movement andl expression Highorroquencios S Caio en teqnsy Lower roquoncioe Adjusting the Brightness Cutoff: -6¢-+63 (Cutott Frequency) 3 Positive settings of Cutoff wil rate the cutof frequency Negative stings wil lowe the cutoff frequency. AS You set this value higher in the positive direction, more overtones ‘ll be allowed to pass, and the sound will become harder (brighter). The further hs vale is set in the negative dice tion, the fever overtones willbe allowed to pass and the sound wil become softer (darker * For some tones, posite (+ sings of Calo wil ease wo notable che the sound Low pass titer cbaractecsties Level Frequon + quency Cute requoncy 29 Chapter 2Chapter 2. Patch Mode Settings Giving the Sound a Distinctive Character Reso: 8¢-+63 (Resonance) When the Reso value is increased, the overtones in the vicin- ity ofthe cutoff frequency will be emphasized, creating a sound ith song character. * For some tones, negative (-) settings of Reso wil cause no noticeable change ithe sound : De ee ‘© Modifying the Changes in Volume (Envelope) The volume of ar Instrument changes overtime, svoment the note begins to sound, unt he time it isap- eas This change canbe indicated on a graph as shown in the fllowing dingram. This shape Is unique to each inst ‘ment and ian important factor in determining how we di- tngush the sounds we ear, This shape ical he “ene lope.” The envelopes of musical instrument sounds can change depending on how the insirument is played. For example ia trumpet is played abruptly and powerfully the tack wil be quick and the sound wil be sharp. But if « trumpet splayed lightly and softy, the atak willbe me Tower. In cre to adjust the atack of sound, we an modi- fy the Atack Time of the envelope. By madifyng the values ofthe envelope ove can simulate the characterises of mary Giteentinstrutnents. The envelope shape that we cents inthis way wil lo affect the way in which the cutoff frequency changes I the tot Frequency had been locered, it will ise asthe envelope ‘ses and wil fl asthe envelope alls rm the Enelope sweden Adjusting the Attack Time ‘tock: -64-+69 (Atack Timo) 3 This parameter adjusts the sharpness ofthe beginning of he sound 30 Adjusting the Time Over which the Steady- State Volume is Reached Decay :-64-+63 (Decay Time) 3 This parameter acts the time ver which the sound will fal fom the highest point ofthe attack doven to the sustain level Fg), * Some sounds ave a sustain evel of (Fig.2. Plane and guitar sound aren history. ‘Adjusting the Time Over which the Sound Disappears . Release :-64-+63 Release Time) 52 ‘This parameter adjusts the time over which the Sound will decay ater the not is rlessed unti i s no longer hear. “The cutoff frequency wil so fall according to this. * For some sounds, modifying the various Time settings ofthe ‘envelope wil ruse no noticeable change in the sound. Fig! weer & Fig2 seuregace | RRewe tre 7 : . = Te Applying Real-time Changes to the Sound hen a MIDI keyboud ee connected the CAM, you tan une the modulation iver, ich bend lever ander. touch function ete ofthe MIDI keyboard Yo ml the ‘ound inal ‘Tone Edit mode contains pages with the following ments Modulation Bender Channel ater Poly After ces ccaSEE! Example Here, we will show how you can use the modulation lever of MIDI keyboard to modify the sound in realtime. 1. Press [PATCH}{TONE}{EDIT] (the indicators igh) ‘You will enter Tone Bait mode 2. Use CURSOR | } to move the cursor to the menu ‘3. Select “Modulation by rotating the VALUE cial, 4. Use CURSOR | A | V ]{ —f] [>] 0 move the cursor 1 LFO 1 Pitch” At the factory settings this se o 10 = pee ‘5. Rotate the VALUE dial 0 et the value to 0. 6.Use CURSOR [ 11 Y }[ 4] [> ] 10 move the cursor to°LFO1 TVA? 7. Rotate the VALUE dial o set the value to 60. While playing the keyboard, use the modulation lever to rmodity the sound, “Tremolo (cyclic modulation of volume) will be applied to the @ Modulation When you move the modulation lever or modulation wheel of 2 MIDI keyboard, modulation messages are transmitted, ‘modifying the sound. Parameters in the “Modulation” page specify how the sound will change when this message is received. At the factory settings, the “LFO 1 Pitch” value is set to 10, so that moving the modulation lever or modulation whee! will apply vibrato tothe sound. @ Bender When you move the pitch bend lever or pitch wheel of MIDI Keyboard, pitch bend messages are transmitted, modi- fying the sound. Parameters in the “Bender” page specify how the sound will change when this message is received. At the factory settings the “Range” is set to 42, 0 tha mov: ing te pitch bend lever will change the piteh, @ Channel After (Channel Aftertouch) (On some MIDI keyboards, pressing down onthe Key afer a roti played wil cus afteriouth mexages tobe wana ted There are hw types of fete; chanel pressure and polyphonic Key presur. In the “Chanel After” page you Ean make stings for channel presure. When those messages are received the wound can be modified in various way. The parameters ofthe “Channel Alter” page specify how the found will change when channel pressure messes are received. Atte factory setings, the “Channel After" pare tee set that hee messages wl rode no fet * Chek sthr your MIDI keyboard is et transmit er tou (han presi messages @ Poly After ‘On some MIDI keyboards, pressing down on the key after 3 note i played will couse affertouch messages tobe tansmit- ted, There are fo types of aftertouch channel pressure and Polyphonic key pressure. Inthe “Poly After page you can make settings for polyphonic key pressure. When these mes- rived, the sound ean be modified in various sages are ‘ways, The parameters of the “Poly After" page specify how the sound will change when polyphonic key pressure mos- sages are received, At the factory settings, the "Poly After” parameters set so that these messages will produce no effect. Check whether your MIDI keyboant is able to transmit ater= toch (polyphonic ey pressure) messages e@cci, cc2 Some MIDI keyboards allow controller numbers to be assigned to the sliders. When these sliders are moved, mes: sages of the specified controller number are transmitted, causing the sound to be modified. The parameters of the CCI" and “C2” pages specify how the sound wil be afect- fed by the control change messages ofthe numbers you selact. You can set “CCI Number” and “CC2 Number” (p. 25) to specify the control change numbers asigned to "CCI" and "co. @ Parameters That Modify the Sound ‘The “Modulation,” “Bender,” "Channel After,” “Poly After, “CC1" and "CC2" pages contain the Following parameters. Range uot Amplitude LFO 1 Rate LFO 1 Pic Lr 1 TVF LFO 1 TVA LFO2 Rate LF0 2 Pic Lro2 TWF Lr02 TVA * When these settings area 0, there sil be no fect. 31 Chapter 2Chapter 2, Patch Mode Settings Range: -24-+24 Specifies the maximum pitch change that will occur when the corresponding message is received. A setting of 12, allows 1 octave of change, and a setting of 24 allows 2 ‘octaves of change. With a setting of O, there will be no piteh change * For some sounds, the pitch may not rise as high as specifi by the Range setting. + The "Rang sting for “Beer” canbe set only in the ange of o-e24 Cutoff: -64-+63 (Cutoff frequency) Specifics how the cutot Frequency will change when the cor responding message is received, Higher values will cause the cutoff frequency #0 rise, Positive (+) settings allow the sound to be made brighter, end negative (settings allow the sound tobe made more mellow. ‘Amplitude: -64-+63 Specifies the way in which the sound will change when the corresponding message is received, Higher values allow 3 restr increase in volume LFO 2 Rate: -64-+63 “These parameters specify the way in which the LFO frequen- cy will change when the corresponding message is receive, adjusting the speed at which the sound is modulated or var led, Higher values allow the modulation oF variation to be speeded up. LFO 1 Pitch: 0-127 LFO 2 Pitch: 0-127 ‘These parameters specify the way in which the depth of the sibrato effect (eyelie modulation of pitch) will change when the corresponding message is received. Higher values allow the modulation effect tobe increased LFO 1 TVF: 0-127 LFO 2 TVF: 0-127 “These paramuters specify the way in which the depth ofthe grovel effect (cyclic modulation of tone) will change when the corresponding message is received, Higher values allow the grovel effst tobe increased LFO 1 TVA: 0-127 LFO 2 TVA: 0-127 “These parameters specify the way In which the depth ofthe tremolo effect (elie modulation of volume) will change when the corresponding message is received. Higher values allow the mmole effet to be increased. 32 Creating and Saving a Sound (USER TONE) {A tone that you edited in the "USER TONE” pages ean be saved in internal memory ‘A tone that has been saved in this way is called a User Tone. 'A total of 256 user tones can be saved: tones 1-128 of vari tion number 64, and tones 1-128 of variation number 65 “USER TONE” parameter values and the tone type will be saved asa User Tone 1. dt the tone. 2. Pross [WRITE] the indicator ight). 3.Use CURSOR | | to move the cursor to the menu 4, Select ‘USER TONE Write" by rotating the VALUE dil. Variation number "Tone number RG 7 User Tone Witte Part: Rel > 064/6BH PENTERD, ext 5. Use CURSOR [ ¥ ] to mave the cursor to the variation umber. Select the variation number ofthe user tone that you wish to 46. Fotae the VALUE dial o aust the variation number. Select eth borat which the user tone will be saved Variation number 6 or 65 as the variation nu 7. Use CURSOR [ m | to mave the cursor to the tone pum: ber. 8, Rotate the VALUE dia to adjust the tone numba. Select the tone number 1-128 in which the tone will be saved. 9, Pross (ENTER) ‘You will be asked to confirm that you wish to save the user tone. IF you decide not to save, press [EXIT] 10. Press [ENTER] 1o save the user tone. *+ The same contents ave saved in Tone Set 3] ant Tone Set (2 So that you can determine the tone set ofthe user tone that ‘was saved, 2 symbol will be displayed before the user tone name, as shown below, IF the user tone was saved in Tone Set [3], the symbol will not be shown, SOPi ano 1 Tone 22 ePiano 1Chapter 2. Patch Mode Settings Rhythm Mode ln Rhythm mode you ean select parts that have been spec- fied as Rhythm part, select a chythm set fr these parts, and edit rhythm sets (On the SC-880, part A and part B ean each use two chythm sets, meaning that a total of four rhythm sets can be used simultaneously AL the factory settings and for the preset performances, the ryt part isettopart ATO. Specifying the Rhythm Parts ‘A Rhythm Part has assigned to it collection of various per ccussive instrument sounds, known as a "Rhythm Set.” Unlike a normal part, a Rhythm Part sounds a different Instrument foreach note number. ince a Rhythm Part needs to simultaneously produce a wide variety of sounds such as bass drum, snare, tom and cymbal, this is very canveniont. A collection of such sounds each assigned to their own note ‘number i called a Rhythm Set Each sound within a Rhythm Seti called a Rhythm tone. (Rhythm Setlist; p. 138-150) In ‘order to assign a rhythm set to a pat, the part must frst be set asa Rhythin Part 1. Press [RHYTHM] (the indicator tights) You will enter Rhythm mode 2. Press [INFO] (te indicator lights). The rhythm part setting page will appear. = Pp RHYTHH 3. Use PART [] [=] to select the part whose settings You wish to modi ‘4, Rotate the VALUE cial to select the rhythm par. For Part Group A, you can select either 1,0" 2 =) normal pat 4: chythm part Rhythms 2 sym part Rhytm2 For Part Group A, you can select either ‘= normal pat 1 fhythm part hythmt 2 rhythm part Rhythm2 + The Rly part seting canals be changed by the Part Made parameter of Tone Fit mode (p. 23-32) Lord Selecting a Rhythm Set The 5-00 conti dee yt seta 1. Press [RHYTHM] (the indicator lights) In Rhythm mode, the display wil show the hythm module number, tone set number dhythm set mumber, and rhythm sotname. A rhythm set is selected by specifying the tone set number ‘and the rhythm set number. Tone set number Atm mop rumor [ym st bor 2.Use CURSOR [=] [P| to move the cursor 0 the rhythm set number ‘3, Rotate the VALUE cial fo sect the rhythm set Ino shythim part has been specified, the following display will appear. Set one of the parts to be the shythm part. (p.27) No Rhythm Set * A shyt setae procter settings he bon if il be indicat yam aster (ofr tery et number. © Selecting the Tone Set The thythm sets ofthe SC-880 are organized into the follow Ing thre tone sets Tone Set 1: The same sounds asthe SC-55'55MK2 Tone Set2: The same sounds asthe SC-28 Tone Set 3: Th original one sat ofthe SC-880 [About Selecting @ Rhythm Set Tone set 1] contains 10 types of rhythm sets, tone st [2] contains 1 types, and tone st {3] contains 25 types. Ia rhythm se ofthe same number doce not exit when the tone set is switched, the closest rhythm set, of the next lowest number willbe selected EXAMPLE When tone st [3] 029 TR-606 is selected and you switch to tone set [2] oF [I] the rhythm set will be selected as follows. tone set [9] 029 TR-606 v ‘one set [2] 027 DANCE vi tone se [1] 026 TR-B08 CeesChapter 2, Patch Mode Settings Hee ee ee ee © Selecting the Rhythm Module The rhythe movile number vill be A-t or A-2 fr “Pat group A” tytn pats Rhythm 1 and Rhythm 2 respective- Iysand willbe Boo B2 for “Part group B® rhythm parts yt 1 and Rhythm 2 respectively For example ifthe rhythm parts have been sta fllows, the ythn module numbers of prts AIO and parts 2 wil tethesane Wf you switch the rhythm se of rhythm module A‘ from Standard 1 to TRO, the Hyun st of pst AIO a AT2 will change to TR08 ‘When you press PART [ <8] [DEL the pat of the some ‘hythm module number wl be selected Parana Part ade Name ot Rtn sl_ yn mole nub Part AO Ahythm 7 STANDARD 1 At Patt Rhythm 2 JAZZ a2 Part A12 Rhythm 1 STANDARD 1 At Part B10 Atythm t ETHNIC Bt "Creating an Original Rhythm Set (Rhythm Edit) (nthe C-880, you can create your ow ciginal tytn set by assigning rhythm tones from any ofthe 42 shythm sets to cach note, Use the "Tone Set,” “Sc Set” and "Sre Key" paca Ie t specly the deste rhythm toe ‘So Set026TR-008 Sor Gat 055 ASIA 1 “The SC-880 also lets you modify various parameters foreach rhythm tone, to creste the perfect sound for your needs. For ‘each instrament (Rhythm tone) of the currently selected Rhythm Set, you can modify the values for the following, parameters. These parameter values are set independently 34 foreach Rhythm tone assigned toa note number Volume, Pan (stereo position), Pitch, Reverb Send Level, Chorus Send Level, Delay Send Level, Assign Group. Use Rhythm Edit mode to create your own original rhythm set Rhythm Edit mode contains the “Rhythm Name” and “Rhythm Key” pages. @ Assigning a Name to the Rhythm Set They se that you named il be lst unless you save it as User Rite Set 1. Prags [RHYTHM}{EDIT (the indlstors ight. 2.Use CURSOR [ ft] fo move the cursor to the menu {3 Select “Rhythm Nam,” by rotating the VALUE dial. 44, Press CURSOR [ ¥ ] 19 move the cursor to te rhythm 5. Use CURSOR [ =] [=] to move the cursor tothe char- ‘acter that you wish to change, 6. Rotate the VALUE dla! to select the desired character. The following characters can be selected ACE, 2-2, 0-9, BB Heal)" JS%OV >< 17. Repeat steps 5-6 0 input the name, ‘When you finish inputting the name, press [WRITE] to save the data as a User Rhythm set (p. 36). Ifyou do not save the settings as a User rhythm set, the name you input will be lost @ Editing a Rhythm Tone Cn the SC-80, you eit ythm st by assigning a hythen tone fo each note, and mouiying the value ofthe parame ters In the “Rhythm Key” page the name of the note boing eit cd willbe displayed below the menu name = C3040), Tone setisisre, set:004 sre key: His Tom. 2 ‘When creating your own original rhythm set, any desired rhythm tone from any shython set can be assigned to each Coverall stings forthe emery set are made in Tone Blt maeChapter 2. Patch Mode Settings NY ‘Rhythm Key" settings occupy two pages, and the following, parameters ean be set Tone Set See Set ‘sre Key Level Pan Reverb Chorus Delay Pitch ‘Assign Group 1. Press [RHYTHM] EDIT] (the inaicatrs light), You will enter Rhythm Edit mode 2.Use CURSOR | 4] to move the cursor to the menu ‘3. Select “Rhythm Key." by rotating the VALUE dla ‘Rhythm Key” settings occupy three pages. Here we will select the fist page. 44. Uso CURSOR] to move the cursor to the note name. Note name (Note number) ag py a oa Tone nee Src. Set: 00s sre kevt. C3 Hi, Tom. 2 Select the note number that you wish to edit ‘Annote number in the range of 0-127 can be selected. For this example, select “C38.” 5. Use CURSOR [ A 11 Y }[ 8] [J t0 move the cursor to the parameter Use “Tone Set,” “Sre Set,” and “Sre Key” to select the rhythm tone that will be assigned tothe note, (6. Rotate the VALUE cial to adjust the value. For this example, repeat steps 5-6 to set "Tone Set: 3, "See Set: 012" and “Ste Key: 50." This will assign the "TR-S08, High Tom" from the TECHNO set of Tone Set: 3 tothe “C3 (48)" note of the currently selected rhythm set, Next, try editing the sound of the rhythm tone that you jst assigned 7. Use CURSOR A 11 V }{ =] [>] to move the cursor to the parameter. Edit the “Level,” "Pan,” "Reverb," “Chorus,” "Delay, "Pitch," and “Assign Group” parameters as desired, 8. Rotate the VALUE dial to acst the value. ‘9. Ropeat stops 4-8 to create your own original rythm set Tone Set: 1-3 Selects the tone st ofthe thythm tone that you wish to edit ‘Tone Set 1: The same sounds as the SC-S5/85MIK2, Tone Set 2: The same sounds as the SC-08. Tone Set 3: The original tne set ot the SC-680, Sre Set: 001-128 Selects the rhythm set of the rhythm tone that you wish to dit For the available ehythm ses, refer to the rhythm setlist. (p. 138-150) Sre Key: C- -69 Selects the note name of the rhythm tone that you wish to ct. For assigning a shythm tone to each note, refer top. 136-150. Level: 0-127 Specifies the volume of the rhythm tone. Higher values resultina louder sound, Pan: Rnd, L63-0-R63 Specifies the stereo location at which the shythm tone will play back "To place the sound in the center, st this value to 0. As the L~ number increases the sound will move Further to the let, and as the Rinumber increases the sound will move further to the right. With a setting of “Rnd” (random), each nate will be placed at an unpredictable location. Reverb: 0-127 Specifies the depth of reverb that will be applied to the rhythm tone. As the value is decreased, the reverb will ‘become shallower. AS the value is increased, the reverb will ‘become deeper. Chorus: 0-127 Specifies the depth of chorus that will be applied to the rythm tone A the value is decreased, the chorus will become shallower. AAs the value is increase, the chorus wil become deeper. Delay: 0-127 Specifies the depth of delay that will be applied to the sth tone ‘As the value is decrease, the delay wil become shallower. As the values increated, the delay will become deeper 35 Chapter 2Chapter 3, Performance Mode Settings LS ‘About the Chorus and Delay Applied to the Rhythm Tone In the case of Rhythm tone, its not possible to simulta neously use both chorus and delay. When you set the [Chorus value, the Delay field will be displayed as and only chorus wil he applied. When you set the Delay value, the Chorus field wil be displayed as —, and only delay wll be applied. In other words, elther chorus or delay will be applied, whichever was set later. Sapp yon 7 Raat ves Lever: Nepean: Rie Reverbs 127 | Chorus: apy T Rasthn ees oe ceray: PEM 62 Assign Group: Non. [About the reverb/chorus/delay/equalizer that is| applied to a rhythm set For the above mentioned “Reverb,” “Chorus” and Delay,” the parameters are the send levels which can be set individually for each rhythm tone. The amount of effct that i actually applic to each rhythm tone willbe deterined by the send level for each rhythm tone, the send level for each part, and each system effect level set king, a8 shown in the following diagram. Sag pe oeifece Send mors? Pitch: 0-127 Specifies the pitch ofthe rhythm tone. As the value increases the pitch will se. As the value decreases the pitch will fal, 36 Assign Group: Non/1-127 Each instrument can be given a number, and instruments with the identical number are treated as an Assign Group. No two instruments ofthe same Assign Group will sound together If while one instrament is sounding, a MIDL mes- sage is received to play another instrument ia the some ‘Assign Group, the first instrument will be turned off firs. ‘This is «useful way to prevent two instruments from sound ing simultaneously that would not normally do so. For example, since itis obviously impossible for 9 hi-hat to simultaneously produce both an open hi-hat sound and a closed hi-hat sound, these two sounds could be set to the same Assign Group (the same number) so that they would rot sound together [Numbers from Non, 1 to 127 can be select: iments for which Non is selacted will not be turned off by ‘other instruments, In other words, instruments with a set ting of Non will not be treated as an Assign earn that if yn selet a iret Riytho Set, the parameter ues el itz. but instr Group. W Saving a Rhythm Set A chythm set that you edited can be saved as a User Rhython. Sixteen user hythms can be saved in UOI-UI6, 1. Edit the rythm set. (p. 4) 2. Prose [WRITE] (the indicator ight). 3. Use CURSOR [ A] 10 move the cursor to the menu 4, Select “Rhythm Wie,” by rotating the VALUE dial == py T Rhythm Write Rhythmaet 3, CEXIT '5.Use CURSOR [ Y | to move the cursor to the user hth number. {6.Rolate the VALUE dial fo select the user rhythm number at which you wish o save the data, Sisteen ser rhythm sets can be saved in UOT-UI6, 7. Press (EDIT You will be asked to confirm that you wish to save the rhythm set. If you decide not to save, press [EXIT] 8, Prass [ENTER] to save the user rhythm,Chapter 3. Performance Mode Settings About Performance Mode mn Performance mode you can play “Performances,” each of which consists of 32 parts (AOT-A16 and BO1-B16) plus effect settings (stem effects, multeffcts) The SC-580 provides 8 performances, which bring together high-quality tones suitable for particular genres of music and make full we of effects and other functionality. (Preset performance list p. 174-177) ln Performance mode you can make setings suitable for 3 given style of music or frequently-used instrumental ensem- bles, and save them as one of eight User Performances, + Al the fictory settings, pres! performances ar slored in POP. 8. Whe the SC-80 is shipped, the user performances contain the same dat asthe preset performances. Performance mode is structure as shown in the diggeam. The parameters and functions that can be set in Tone mode, Rhythm mode and Multieffect mode are the same as in Performance made, For details on Tone mote and Rhythm mode, refer to Chapter 2 (p. 20). Details on Multi-ffect rode (M-FX) will be given in Chapter (p. 49) t=] omaRLE aermanesP- ama oma] | | CE Load \|{_—_— Selecting a Performance On the 56-80 you can selec rom snen performances preset performances PP and wet performances 1-0 5 Preset performances rind by 7° foe the nm her, and user performances by 2“U,” as follows Preset Petormance Gece [User Pacormance 7 Vier perrorn 1 pets —, 7 = namie Aan Each performance consists ofthe following structural ele: Elements ofa Performance ‘Tones for pars ADI-AI6, BOT-BIG and settings for each part Parameters common toa parts System effect settings Multiffotsotings 1. Prass [PERFORM] (the indicator ght), 2. Rotate the VALUE cial to select he performance * When the Peformance number reaches "P-8," the next select Performance rill be Ud.” we <->) “USER PERFORM 1- © Titer PeRroRn @- Pa SEQ Tenplate 7Chapter 3. Performance Mode Settings @ Saving a Performance pesformances hit you crest cn be saved a8 one of 8 user Performances UI-U8 1. Carry out the editing in Performance mode. 2. Prass [WRITE] (the indicator ight). 3. Use CURSOR | 4] fo move the cursor to the menu 4. Select ‘Performance Write” by rotating the VALUE cia Sag Performance unite > i _ CENTER], CEXITI 5. Use CURSOR | ¥ | to move the cursor tothe user per formance number. 6. Rotate the VALUE dial to select the user performance ‘number at which you wish o save the data, User performances can be saved in the 8 performances U- 1-US, 7, Pross [ENTER] ‘You willbe asked to confirm that you wish to save the patch, If you decide not to save, press [EXIT TAD RP ee Performance unite > Tene > sure? | FEN £8 Press [ENTER] to Save the User Performance. 38 Creating a Performance (Performance Edit Mode) ‘To create a Performance you must assign atone to each part of the Performance, make settings for each part, and make cffect settings n Performance Edit mode, you can make se tings forall parts and for the effects (system effects and lti-efects) To enter Performance Edit mode, press [EDIT] from Performance mode. Parameters in Performance Edit mode are set using the fol= lowing procedure, 1. Press [PERFORM] (the indicator lghs). 2. Rotate the VALUE dal to select the performance that you wish to edt. {3 Press [EDIT (the incicator lights). 4,Use CURSOR [ A] fo move the cursor to the menu name. ‘5. Rotate the VALUE dial to select the page. 6, Use CURSOR | A IL Y ]{ 4] [>] to select the para- ‘meter whose value you wish to change 7. Rotate the VALUE dial to aust the value. Performance Edit mode contains pages with the following Performance Name Master Control Raver Chorus Delay Equalizer Mult-Fx “The parameters of the "Master Control” pages are the same asin Patch mode. Refer tothe explanations in Chapter 2 (p. 20, * Parameters for "Revor,” “Chorus,” "Delay" and “Equa ary explained in Chaper 4 System Et. For details on "Mult FX." refer to Chaptr 5 Mult FX, * Since your editing wl afc the date in the temporary ars, the ‘modified contents wl be lost whe you change performances oF soit fo Patel mate, To hep your ets, you must save them ino user memory. (p38) + A Performance whose parameter settings have been modified ‘wll indicated by am ests) bfore the Peformance num ber.Chapter 3. Performance Mode Settings @ Naming a Performance In the "Performance Name” page you can assign a name of upto 16 characters toa user Performance. 1. Eait the performance. ‘2. Press [EDIT [the indicator ight). Enter the performance edit mode. '3.Use CURSOR [ A ] 10 move the cursor to the menu 4, Solect "Performance Name,” by rotating the VALUE dal '5.Press CURSOR [ ¥ ] to move the cursor tothe patch aR Fe ww or ee (6.Use CURSOR [4] [] to move the cursor to the char. ‘acter that you wish o change. 7, Rotate the VALUE dial to select the desired character, ‘The following characters can be selected AZ, 0-2, 0-9, 81," /<=>()N" IS%O¥ De Repeat steps 6-7 to input the name. '9.When you finish inputing the name, press {EXIT} to exit Pectormance Eelt mode. ‘When you finish inputting the name, press [WRITE] to save the data as a User performance (p. 38). Ifyou do not save the settings as a User performance, the name you input will be lost. Tone Edit Mode Im Tone Eait mole you can edit the settings for each part ‘and the tone or zhythm set that i assigned to each pat. Use PART | ] [=] to select the part that you wish tos ‘The current part will be shown inthe PART field of the dis- play ™ Parameter Settings Use the following procedure fost the parameters of ech par 1. Pres [PERFORM}{TONEHIEDI] the neato igh) Enter the performance mode. 2.Use PART [4] [Pe] 0 select the part for which you Wish 1 make setngs 3.Use CURSOR [ A] to move the cursor tothe manu 4 Rotate the VALUE dla osolct the pages for which you wish o make stings. '5.Use CURSOR [ A 11 V [1] [>] 0 select the para meter that you wish to mody 6. Rotate the VALUE dial to adjust the valu. Tone Edit mode contains the following pages. The parame- ters which can be set and their functions are the samne as in Patch mode. For detalls on each parameter, refer to Chapter 2. In the procedural explanations for each parameter in ‘Chapter 2, read [PATCH] as [PERFORM] ‘Output (p. 23) Etiect Send (p. 47) PecMDI(p.25) Mode (p. 27) Keyboard Range (p. 27) Phch (. 28) ‘Scale Tune (p.28) Part Tone Modity(p. 28) USER TONE (p. 28) Modulation (p. 81) Bender (p. 31) Channel Ate (p. 31), Poly After (p. 31) C4 (p. 31) cca (p. 31) 39 Cee!Chapter 4. Applying Special Effects to the Sound (System Effects) How the SC-880’s Effects Are Structured “The SC-880 has two types of effects: System elects (p40) and Muti-etect(p. 4). As system effects, ou can use eight types ta make the sound richer and more spacious, en types of delay to create eco effects, and two~ of teverb to reverberate the sound, eight types of chorus band equalizer to modify the tonal character ofthe sound. As multi-effets, you can use one of 64 different eects to dlistort or moxlulate the sound, or combine multiple effects together. System effects and muli-esfects differ nat only by ther effect type, but also in the processing path within the SC-880 tm What Are System Effects? ‘The system effect eve/choms/delay proces orton ofthe sound of each part to centea new ctf ‘The amount of sound that i sent othe eet from each parte adjste bythe Send Level. As this Wale is increased more sound wil be sent to the effet which wil cause the effet to be applied sore deeply For the Equalizer system effec, you can spuily whether or no the sound ofeach part willbe passed sound (reverberation, et), whichis then added tothe original sound. through the effet Le, ta switch the equalizer on/off Fr each part m@ What Are Multi-Effects? Maltiefets canbe applied toa part to modify the sound itll, transforming it into 8 sound with 9 ery diferent tonal character. The SC-80 provides diferent power effects of various types ‘As shown inthe diagram, the effect structure lls you make stings for ane ml-efet and ta i on oft foreach part, However, since only one type of multi-effect ean be used at ate, all parts for Wich the molt-effect is tamed on will be processed by the same mul-effect. Inthe case of a part for which the mult-efect has been turned on it will not be possible to adjust the individual system effect send levels fr that part. The signal from such parts will be sent tothe system effects as adjust ced by the send level for all part for which the mult-lfect is switched on (p. 4). {[Rbour System Mode settings |} the effects that ane available for the system effect and the multi-ffee will depend on the System Mode setting p. 101), In Single Module Mode (Single), you can use one effect each for Reverb, Chorus, Dey and Equalizer In Double Module Made (Double), equalizer and delay cannot be used, but you can use vo effects each for Reverb and Chorus. This s useful when you wish to apply diferent lypes of effects or diferent eects settings to sveral parts. Also, multi-effects can be used only for Patt Group A. This is very convenient schen you wish to apply a unique effect to 2 solo pat. te System mode provides a parameter that lets you switch the effects (aystem effect, multieffect) ‘on/off (p. 92). If this parameter is switched off, no effects will be applied to the tones at all, which can be convenient when you are editing o atoning tones. + Fordeals on Single Maule mode and Double Medule woe, refer tp. 10 tons in this cater assume Ht gow are i Pac: made. If yow ave making Mise st ply sltitte [PERFORML fr PATCH) from “0 Peafnmanse mateChapter 4. Applying Special Effects to the Sound (System Effects) Single edie Wade e [Delay Send 5 oy a ate +o [Ea ns Pevgopa] Me Hd Pa RGD om Crier) Esty Ovoe . yi I = 2 08 2 | artor-Bre} i aug vO ae 6 \ Doe Node Wode eS Neve crave see nf epee eins send cre getnnf | et Seer eve Send Les Fave tne! ¥ Qe —— ro [et t Gomiectne tahoe e+ [eens et Par groupe] Ll Peniabiere| * You can aply the Mullet tothe Part in Group 8. th Receive Chanel is sto AON - AN. * Single Module made is te Normal mode in which you ea use 32 Parts and Double Mule made isthe ‘moe i which you cn use the $C-B80 ast sound mules (Par! Groups and). For deta fer top 101 alChapter 4. Applying Special Effects to the Sound (System Effects) Applying Reverberation to the Sound (Reverb) Reverb isan effect that adds reverberation toa sound, much Tike what you would hear ina concert hall Reverb settings can be made in Patch Edit mode or in Performance Edit mode. The amount of reverb that is applied to the sound of each part is determined by the Reverb Level (p. 42) and by the Reverb Send Level (p. 47), that is set in Tone Edit mode. Send Level specifies the ‘amount of sound that is sent from each part tothe reverb ™@ Reverb Settings and the Function of Each Parameter Here you can make settings forthe reverb which will be applied tothe sound that is sent from each pat Reverb settings conse of seven parameters allowing you create the desired character of reverb. 1. Press [PATCH [EDIT] (the indicators tight) Enter Patch Edit mode. 2. Use CURSOR | fi} fo move the cursor to the menu 3, Select "Reverb," by rotating the VALUE cia Bag ap eee “Reverb” settings occupy two pages, and consist of seven parameters. Type Level Character PreLPF Time Delay Feedback Pre Delay Time 4.Use CURSOR [ A 11 V1 [4] [J 10 select the para- ‘mar that you wish to modly. 5, Rotate the VALUE dial to modly the parameter value. 6. Press and hold the VOLUME knob to hear the result of the parameters that you modified 42 7. Repeat steps 4-6 0 set the parameters yf yo wih to gut king settings, pros JEXITL © Type (Reverb Type) “You can choose fom 8 types of reverb Room! — Room2 Rooms These revebs simulate the reverberation of a room. They provide well-defined spacious reverberation How Hal ‘These reverbs simulate the ceverberation of a concert hal They prove a deeper reverberation than the Room verbs Plate This simulates a plate reverb (a studio device using a metal plate) Delay This ia conventional delay that produces echo effects. Panning Delay ‘This is a special delay in which the delayed sounds move left and right It is effective when you ae listening in stereo. ‘When you change the Reverb Type, the following parameter values will automatically change. This is so thatthe parame- ter values will have the settings most appropriate for the selected Reverb Type. You can select these parameters (p. 42, 43) and modify the values to adjust the effect to your taste @ Level: 0-127 (Reverb Level) Sets the amount of the reverberant sound. Higher values resulin louder reverberation. 1 the se ee (Reer Sed Le. 47) oli 0, no reverb sel be pp toa part. @ Character: 0-7 (Reverb Character) This parameter sclets only the type of reverb. 0-5 are reverb effects; and 6 and 7 are delay effets. @ Pre-LPF: 0-7 (Reverb Pre-LPF) ‘low pss filter can be applied tothe sound coming into the reverb to ct the high frequency range. Higher values will cut more ofthe high fequencies, resulting in a more mellow reverberation © Time: 0-127 (Reverb Time) Sets the te over which the reverberation wil continue. Higher values elt in longer reverberation @ Delay Feedback: 0-127 (Reverb Delay Feedback) ‘This parameter i sed when the Reverb Chace et 06 oF 7, Reverb Type i set to Delay or Panning Delay. I set the way in which delays repeat. Higher valves result in more olay repentChapter 4. Applying Special Effects to the Sound (System Effects) © Pre Delay Time: 0-127 msec (Reverb Pre-Delay Time) Sets the delay time until the reverberant sound is heard Higher values result a longer pre-delay Ue, simulating 9 larger reverberant space. * Roe Pro-Delay Time cnnot be used then Double Module Mode (p10) eset. [About Reverb Type ]When you change the Reverb Type, the sbovelisted six reverb parameters (including Reverb Character) will be automatically adjusted to the optimal values. Rather than individually adjusting each reverb parameter, it is easier to first set the Reverb Type (listed in the MIDI implementation as [REVERB MACRO}; p. 192), and then| maeify only those parameters that you wish to modify In particular when using MIDI exclusive messages, this method of making setings will minimize the amount of data is Hwa Rum? Ba’ Wb? Pte int wou 8 oH 8 Rt ot eee a ee oe ie oe ew Re ee aw Digfetok 9 00 8 8 kl PebdyTre 08) Adding Breadth to the Sound (Chorus) Chorus broadens the spatial image of the sound, adding depth and richness Chorus settings can be made in Patch Edit mode or in Performance Edit mode. The amount of chorus that is applied to the sound of each partis determined by the Chorus Level (p. 44) and by the Chorus Send Level (p. 47) that is sot in Tone Edit mode. Send Level specifies the mount of sound that is sent from each part tothe chorus, Chorus Settings and the Function of Each Parameter Here you can make stings forthe chorus which wil be prt o the sound that sent om exch pare, hore stings consist ne arate allowing you to create he dered characte of horus, 1. Press [PATCH}EDIT] (he incicators igh), Enter Patch Fait mode, 2. Use CURSOR [ 4 } to move the cursor to the menu 3, Select “Chorus,” by rotating the VALUE dial. SaAg Tp ee ae ae ¢ = + Tyre: ‘chorus 3 Level: s4[reedback: 8 Pre-LPr:o|belavi. 88 Tag ap oe ee oe 7 => Rater “SP berth: 19 Send to Reverb: & eerie eee “Chorus” settings occupy tho pages, and consist of nine parameters. Type Level Feedback Pre-LPF Delay Rate Depth ‘Send to Reverb ‘Send to Delay 1 Use CURSOR [ 1 VJ [4] (> 1 to select the pars ‘meter that you wish to mod. ‘5. Rotate the VALUE dlal to modly the parameter value. 43 Chapter 4Chapter 4. Applying Special Effects to the Sound (System Effects) ———————— 6. Press and hold the VOLUME knob to hear the result of the parameters that you modified. Repeat stops 4-6 to sot the parameters. * To quit making settings, press EXIT © Type (Chorus Type) You can choose from types of chorus Chorus! Chorus 2 Chorus. Chorus 4 “These are conventional chorus effects that ad pciousness and depth tothe sound Feedback Chorus “This is chorus witha Mangere effect anda sft sound Fanger “This san effec sounding somewhat ke jt aieplane taking cffand landing short Delay “This sa delay with shor delay ime Short Delay Fb ‘This isa short delay with many repeats When you change the Chorus Type, the following parameter ‘values will automatically change. This isso thatthe parame- ter values Will have the settings most appropriate forthe selected Chorus Type. You can select these parameters (p51) and modify the values to adjust theelfect to your taste, @ Level: 0-127 (Chorus Level) Sets the amount ofthe chorus sound. Higher values will use the chorus sound tobe louder. * iF te send leo! (Chorus Send Level p. £7) value i 0, no cous iil be opie to that port. @ Feedback: 0-127 (Chorus Feedback) Sets the level at which the chorus sound is returned (fed back) into the chorus. By using feedback, a denser chorus sound can be created. Higher values result in a greater fed: back level (© Pre-LPF: 0-7 (Chorus Pre-LPF) ‘low pas filter can be applied tothe sound coming into the chorus to cut the high frequency range. Higher values will ‘ut mote ofthe high frequencies, resulting in a more mellow chorus sound. © Delay: 0-127 (Chorus Delay) Sets the delay time of the chor effect. Higher valuos wil cause reser deviation in pitch ofthe chorus sound @ Rate: 0-127 (Chorus Rate) Sets the speed (frequency) at which the chorus sound is modulate. Higher values result in fartr modulation, 44 @ Depth: 0-127 (Chorus Depth) Sets the depth at which the chorus sound is modulated. Higher values resultin deeper madulation @ Send to Reverb: 0-127 (Chorus Send Level To Reverb) Sets the amount of chorus sound that wil be sent to the reverb, Higher values result in more sound being sen. @ Send to Delay: 0-127 (Chorus Send Level To Delay) Sets the amount of chorus sound that will be sent tothe delay, Higher values result in more sound being set. > Chorus Sond Level To Delay cannot be used when Double Module Move (p.101) i selete. [About the Chorus Type When you change the Chorus Type, the above-listed eight Chorus parameters (including Chorus Character) will be automatically adjusted to the optimal values. Rather than individually adjusting each Chorus parame ter, iti easier to frst set the Chorus Type (listed in the] MIDI implementation as [CHORUS MACRO}: p. 192, and then modify only those parameters that you wish to modify. In particular, when using MIDI exclusive mes- sages, chs method of making settings wil minimize the amount of data Tp Corse? Cone Os Pcs Fags Soy Ss ies ww Feat 9 oa eur rs teay 2 wow fae 0 gn a seoReet 0 a Sede) 0 woChapter 4. Applying Special Etfects to the Sound (System Effects) Adding Echo to the Sound (Delay) Delay creates echoes, Its also possible to give depth and Ieadth to a sound by adding a short delay tothe oviginal sound, Delay settings can be made in Patch Edit mode or in Performance Edit mode. The amount of delay that i applied to the sound of each partis determined by the Delay Level (45) and by the Delay Send Level (p47) that is set in Tone ait mode, Send Level specifies the amount of sound that is sent from each part tothe delay ™ Delay Settings and the Function of Each Parameter Here you can make setings forthe delay which wil be applied tothe sound that is sent from each pat. Delay settings consist of eleven parameters allowing you to create the desired character of delay 1. Press [PATCH}{EDIT] (the inlcators ght), Enter Patch Edit mode. 2.Use CURSOR [ | to move the cursor 0 the menu ‘3, Select “Delay,"by rotating the VALUE dial =a gees belay t S4|Feecsack: +36 aR Loe Tape Be a 7 = Level center “Delay” setings cccupy three pages, and consist of eleven parameters Tye Level Feedback PreLPE ToReverb Time Center ‘Time Ratio Let Time Ratio Right Level Center Level Lett Level Right, 4, Use CURSOR [ 11 V4] (1 select the para ‘meter that you wish to modty 5. Rotate the VALUE dial to moity the parameter value. (6. Press and hold the VOLUME knob to hear the result of the parameters that you modiie. 7. Repeat steps 4-6 to set the parameters, * Press [EXIT] at any Hine if you change your mind, and decide you donot wan to madi the sting * tn Douhle Module mode fp. 101, delay connot be use @ Type (Delay Type) ‘You can choove from 10 types of delay Delay Delay2 Delay 3 These are conventional delay, Delay 1, Delay 2 and Delay 3 have progressively longer delay ties. Delay 4 “This isa delay with a ather short delay time. Panning Delay 1 Panning Delay 2 Panning Delay 3 The delay sound moves between left and right. This iff: tive when listening in stereo. Pan Delay 1, an Delay 2 and Pan Delay 3 have progressively longer delay times. Panning Delay 4 ‘This isa rather short delay with the delayed sound moving between ft and ight It ieffectve when ltening in sereo Delay to Reverb Reverb is added tothe delay sound which moves between It and righ. Its effective when liseing in stereo Panning Repeat “The delay sound moves between left and right, but the loal- ization is diferent than the effects listed above. It is effective ‘when listening in stereo When you change the Delay Typ, the fllowing parameter ‘values wil automatically change. Tis i 2 the parameter ‘ales will ave the stings most appropriate forthe slect- ‘ed Delay Type. You can select these parameters (p. 45 46) and modify the values to adjust he effect to your taste @ Level: 0-127 (Delay Level) Sets the overall volume of the three delays (center, lft anc Fight. Higher values result ina louder overall delay * if te send lee (Day Sond Lec: p47) su 0, mo dey le api ta par. 45Chapter 4. Applying Special Effects to the Sound (System Effects) LS @ FeedBack: -64-0-+63 (Delay Feedback) “his parameter affects the numberof times the delay wit repeat With value of 0, the delay will ot repest, With higher values there willbe more repeats, With negative () ‘ales the center delay willbe fed back with inverted phase Negative values ae effective with shor delay ties. @ Pre-LPF: 0-7 (Delay Pre-LPF) A Tow pass filter can be applied to the sound coming into the delay to cut the high frequency range. Higher values willeut rote of the high frequencies, resulting in a more mellow delay sound @ ToReverb: 0-127 {Delay Send Level To Reverb) Sets the amount of delay sound that is sent tothe reverb. Higher values sult in more sou being sent @ Time Center: 0.1 msec-1 sec (Delay Time Center) “The delay cect of the SC-860 allows you to set tree delay tans; center, left and right when isening in stereo). Delay Time Center sets the delay time of the delay located at the center. @ Time Ratio Left: 4%-500% (Delay Time Ratio Left) Sets the dey time ofthe delay located atthe let a8 per centage ofthe Delay Time Center. (up ta max of 1.0 ec) @ Time Ratio Right: 4%-500% (Delay Time Ratio Right) Sets the delay time ofthe delay located at he rght a a pr centage ofthe Delay Time Center. up toa max. of 1.0 sec) @ Level Center: 0-127 (Delay Level Center) Sets the volume ofthe central delay Higher values result in 2 louder center delay @ Level Left: 0-127 (Delay Level Left) Sets the volume of the left dela. Higher values result in a Iouder left delay @ Level Right: 0-127 (Delay Level Right) Sets the volume ofthe right delay. Higher values result ina Touder right delay. [About the Delay Type [When you change the Delay Type, the above-listed ten} Delay parameters (including Delay Character) will be automatically adjusted to the optimal values. Rather| than individually adjusting each Delay parameter, i is easier to fest set the Delay Type (listed in the MIDI implementation as [DELAY MACRO}; p. 192), and then modify only those parameters that you wish to modify In posticular, when using MIDI exclusive messages, thi method of making settings will minimize the amount of ata Pay ay ay To Fei i eer etiset es Pea inn OH Foto 8 vk OT eur «68 fb bt ee or neem 3m Se Ise Om SL Te te a NOM HM Tomidnle kA S SH TNH STH Tiana oa a lesa «8 be oS lei 0 0 tO wwChapter 4. Applying Special Effects to the Sound (System Effects) rene e Send Level Reverb/Chorus/Delay’ (On the SC880, you can adjust the Send Levelt spec the amount of system effect (Revers, Chorus, Delay hat wl be applied tothe sound of each part. Send Levels can be att independently foreach prt and the amount of system effet thot actually results is determined by the Send Level value and the levels ofeach system fc (p42 44,45). 1. Press [PATCH}{TONE}[EDIT] (the indleators igh) Enter Tone Edit mode 2.Use CURSOR | | to move the cursor to the menu 3.Use PART [at] [to select the part whose setings you wish © mi. ‘The settings ofthe sletet part wil be shown inthe upper Jet ofthe display. 4.5 ct “fect Send" by rotating the VALUE dia In the “Effect Sen” page you can set the fllowing parame- unex SE Specifies whether the sound ofthe part wil be sent to the multi-effect (On) oF not (OF. I this is turned On, the “Revetb,” “Chorus,” “Delay” and “EQ settings of “Eifect Send” willbe ignored. Iyou wish to apply a system effect to a prt for which Mul-PX is On refer top 50 Reverb (Reverb Send Level) 5 “The portion ofthe sound of the part sent tothe reverb Increasing this vale wil ncese the amount sent oreverb, andthe reverb willbe applied more deeply. Decreasing this ‘alae will decrease the amount sent tothe reverb, and the reverb wil be applied ese deeply Chorus (Chorus Send Levet) 3 The portion ofthe sound of the part sent tothe chorus Increasing this value wil nceace the amount sent o chorus, andthe chorus willbe applied more deeply, Dscesing this {ale will decease the amount sent fo the chorus and the chorus will be applied less deeply. Delay (Delay Send Level) E> The portion ofthe sound ofthe part sent to the delay Increasing the value wil increase the amount eet to delay, and the delay will be applied more deeply. Decreasing this ‘alle will decrase the amount sent tothe delay, and the delay wil be applied less deply co iy Specifies whether the sound ofthe part will be sent through the ualizer (On oF not (Of. If this is turned On, the sound of the part will be sent Uhrough the equalizer this is turned Ot the equalizer wil sok apply 5.Use CURSOR [ A 11 [<4] 0% 1 select he para: mete that yu wish to medlly. (6. Roate the VALUE dal fo adjust he value. 7 Repeat steps 2-6 o make setings fr all part 47 CreesChapter 5. Applying Speci Effects to the Sound (Mult-Etfects) SS Modifying the Tonal Character (Equalizer) ‘The SC-880 has a two-band equalizer (high range, low range). An equalizer lets you boost or cut specified Frequen- cy ranges of a sound to adjust the tone. For each range, high amd low, you can specify the frequency and the amount of boost or cut (gai). For each part you can specify whether or not the equalizer willbe applied. Equalizer Settings and the Function of Each Parameter Here you can make stings forthe equalizer which wil be tented othe ound that sent fom ech pa. Erpatzr song corto four parameter allowing you tocreatethe deed character of equalize, * tn Double Module made (p. 101), equalizer cannot be use. 1, Press [PATCH}{EDIT] (the indicators tight), Enter Patch Edit mode 2.Use CURSOR [ 4 } to move the cursor to the menu 3, Select “Equalizer” by rotating the VALUE dia. Tag opp ee www ee alee Mish Fa:3i # olHigain:t © Equalizer” settings consist of the following four parame Low Fa High Fa LowGan HiGain 4,Use CURSOR [ A} V1 =] [10 select the para: ‘meter thal you wish to modi 5, Rotate the VALUE dial adjust the value. 6, Rotate the VALUE dial to modi the parameter value. 7, Repeat stops 4-6 to set the parameters, + Taguit ming settings, press [EXIT] 48 @ Low Fq (Equalizer Low Frequency) 200/400 (Hz) @ High Fq (Equalizer High Frequency) 3/6 k (Hz) These parameters set the cutoff frequencies of the ranges boosted oF ct bythe equalizer @ LowGain (Equalizer Low Gain) -12-0-+12 (dB) @ HiGain (Equalizer High Gain) -12-0-+12 (dB) Specifies the amount of boost oF cut (ain) for the high fre quency range (high) and the low frequency range (lov). Peitve (2) stings will boos, and negative () settings will ou. + With Gain setting ofthe ei tae ee W Turning the Equalizer On/Off for Each Part (On the 8880 you can swith the equalize on of fo ech part 1. Press (PATCHH{TONE]{EDIT] (the indicators ght), Tooe Patch Et mode 2.Use CURSOR [ Jo mova the cursor to the menu ‘3. Selec “toc Sonby oan he VALUE dal {Use PART [ at] [>] to select tne pat whose setings you wish to modi. “The setings ofthe selected part will be shown inthe upper left ofthe display 5.Use CURSOR A IE 1[-4] 1 110 move he cursor 1o-£0" 6. Rotate tho VALUE dla to tun the seting ovo, Rotate tho VALUE dil toward the right to tm the seting on, oF toward the le tun the oeting oft 77.Repoat stops 4-6 totum the equalizer ono for each part + Toquit making serings, prs [EXITCURA IC Cia RUC TT AU Uist] About Multi-Effects Separately from the system effects, the SC-880 provides ‘mult-ffects,” which are specially designed to be a specific pars. 64 diferent mult-effects are provided, includ. ing individual effects which distort the waveform, modulate the sound, or add reverberation to the sound, as well as mil tiple effects that are connected in series or parallel, Since appropriate parameters are provided for each effec, you can make fine adjustments to the sound for profesional-level control, You can also save 64 different effects settings of {your own as User mult effets * For deals on System effets and Multec, non the eee uct ofthe SC-880, fer top 40 pplied to * Who the SC-880 i shipped, the user performances contain the seme datas he preset pformancs (Multi-efects can be applied independently to individual parts The procedural explanations inthis chapter willbe given in Patch mde If yw are king these stings from Performance mod, read (PATCH as [PERFORM Selecting a Multi-Effects (On the SC-AB0 you ean select from é preset multnefects (P= (1-P-64) and 64 user multieffets (U-01-U44} Preset multi-effects are indicated by a “P” before the num- ‘oer, an ser mult-effects by aU," as follows [Prose wast atocs ‘oT stereo-EQ Usor Muto aT stereo-EO 1. Press [M-FX] the indicator lights) 2. Rotate the VALUE cial to select the mul wish to apply Simply selecting a mult-ffect will not cause it tobe applied toa tone or patch, Multi-efects can be fumed on/off foreach pot. Now, ty turing the setting on/off for each part lect that you 3. Prass [INFO (the indicator lights) ‘The display will show the multietfect on/off seting for each ofthe 52 parts, ‘AD ra ee 7800/001 Piano 1 ABs 4, Use CURSOR [ A }{ V ] [4] [1 t0 select the part that you wish to modi. ‘5. Rotate the VALUE dial to tur the setting ono, Rotate the VALUE dial toward the right to turn the setting fon or toward the let to tur the setting of 6. When you finish making settings, press [EXIT] to leave the setting page. Saving a Multi-Effects Ate you have modified he paranters of a mutitlet Jour taste, you can sve i af a wer mules 64 user mules ean bese 1. Sot the parameters ofthe mut-tects 2. Press [WRITE} the indicator hts) 3.Use CURSOR | A] 10 move the cursor to the menu 4, Select "Mult-FX Wit," by rolating the VALUE dia. 5.Use CURSOR | ¥ ] to move the cursor to the user mult elects eumber. 7 Muiti-FX Meine ‘Tene > eee eee 6, Rotate the VALUE dial to select the user muti-etfects number at which you wish 1o save the data User multi-tfects can be saved in the 64 multi-efects U- o1-U-64 7. Pross {ENTER} ‘You will be asked to confirm that you wish to save the patch Ie you decide not to save, press [EXIT] Wuiti-FX Hite Tene —> U-ot sure? FENTERD, CIT? 8. Pross [ENTER] to save the user mut-ffects 49Chapter 5. Applying Special Etfects to the Sound (Mult-Etfects) Making Multi-Effects Settings ‘There are two types of mull-offets settings: settings that are ‘made in Patch Edit mode and Performance Edit mode, and settings that are made in Mult-effect mode. @ Adjust the send level In Patch (Perfrmancs) Balt mode, you can adjust the send levels to specify how much ofthe sound of parts to which the multreffect was applied will be sent tothe system effects (reverb, chorus, delay). For the equalizer, you can specily that it be applied on) or not (ff) The send level i common toall parts for which the multefect is tured on, and the amount of the system effect that wil actully result will be determined by the send level value and by the level of ech system effect (p42, 4,45). 1. Press (PATCHH{EDIT (the indicators Hight). 2.Use CURSOR [ J fo move the cursor to the menu 4, Seloct"Mutt-FX,"by rotating the VALUE dial “Mult-PX" consists of to pages. Here we will select the fol. lowing page. =a pe 7 = ‘send Reverb: 43[Delav: 0 Chorus: 2 | et on, 4, Use CURSOR [ A 1 V ][—4) [1 to select the para ‘meter that you wish to mostly. ‘5. Fate the VALUE dial o act the valu. ‘# Reverb: 0-127 (Send to Reverb) Part ofthe sound of parts for which multi-efecs is switched ON will be sent to the reverb. Increasing this value will Increase the amount that is sent to the reverb, causing the reverb tobe applied more deeply. Decreasing the value will, slecrease the amount that is sent to the reverb, causing the reverb tobe applied less deeply. ‘# Chorus: 0-127 (Send to Chorus) Part of the cound of parts for which multi-effect is switched (ON will be sent to the chorus. Increasing this value will {increase the amount that is sent to the chorus, causing the chorus to be appliud more deeply. Decreasing the value will decrease the amount that is sent to the charts, causing the chorus tobe applied less deeply 50 ¢ Delay: 0-127 (Send to Delay) Par ofthe sound of parts for which mull-effects is switched ON will be sent to the delay. Increasing this value will Increase the amount that is sent to the delay, causing the delay to be applied more deeply. Decreasing the value will ‘decrease the amount that is sent to the delay, causing the delay tobe applied less deeply. ‘¢ EQ: On/Off (Send to Equalizer) Specify whether the sound of parts for which multe is switched ON wll be sent though the equalizer (On) oF not (Oi. I this is On, te sound ofthe part wil be ent hough the equalizer. this is Of, the equalizer will ot apply [About Reverb/Chorus/Delay for Paris to which Mult Effects Are Applied When the ulti-efect is tured on, the Send Level (p.47) that was set in Tone Edit mode for that part will be ignored, and the value will be displayed asin the| Af you wish to apply system effects (reverb, chorus, delay, EQ) to parts (or which mult-ffect is On, make| settings for the above “Reverb,” “Chorus,” “Delay,” and] "EQ" parameters Settings Made in Multi-Effect Mode In Multvetfect mode you can set the parameters of the multi: effects, 1. Pras [M-FX] (the indicator ight). 2. Rotate the VALUE dial fo select the mult-etect that you wish to use, Here le’ select P01 Stereo-EQ. Gor Flad edank S P-01 Stereo-EQ {3 Press [EDIT] (the indicator igh). ‘The display will show the effet algorithms, and the current ly selected algorithm will be enclose in a box. Below twill be displayed the parameters related to the selected algo rit.Chapter 5. Applying Special Etfects to the Sound (Multi-Effects) The mumber of the currently selected multi-ffect i shown in the upper left ‘oom 08 Mul tects Number cpg ror hype Be ogee we 4.Use CURSOR | | 10 move the cursor tthe algorthm ‘5. Rotate the VALUE dial to select the desicad algorithm, 6.Use CURSOR & J V }{ =] [>] 10 move the cursor to the parameter that you wish fo modty 7 Rotate the VALUE dial o agst the valve. 8. Pross and hold the VOLUME knob to hear how the effect changes. ‘You will hear the tone of the part that was selected in the PART display before you entered edit mode. {9 Repeat steps 4-8 to make the desired settings. 10. Press [EXIT} to ext the exiting page. An effect whose parameter settings have been modified wil be indicated by an asterisk () before the effect name agp ¥P-BT Stereo-EQ Be aware that when you change the Effect Type, the effect parameters will be initialized, To save your parameter val: ues it js convenient to use a User Mult-Etecs.(p. 49) * To switch pages, move the cursor to the algorithm ars and use (CURSOR {= [or the VALUE dl. Alternatively, the cursor i located ata parameter, you ca also use CURSOR [411% Ho seitch pages 1 takes while until the sound can be hoard afer you change the Patch and performance * Yfarmonswal mui-fect is turne on, the settings for Prt Pan {p.24) and Master Pan (. 22) wil be ignored, Monaural mult effets are tase suc as P-02: Spectrum and P35: OD —* Chorus In the ose of stro mulvfets, howscer, the seins for Part Pan (p. 24) and Maser Pan ip. 22) will be efstoe woh the imulifect on, Stereo multifcts are those that maintain sorte IR channels alte way othe output stage such as P- 1: Sere-£Q and P16: Hexa Chorus * Ifthe Multi is turn on for tao or more parts, the sound of exch part eile mise. Ie wll not be possible to set reverbchoruselylguaizer ne pendently for hese parts (p50) * Wh D-00 Thr islet, Hho multi wil nt be apg. Using Controllers to Modify Effect Parameters Contrllers can be sed to mf the vals of muleets parameters Using MIDI messages to modify effect parameters during 2 song would require a large amet of data if you were 10 se only Exclusive messages. Thus, the SC-80 allows yo to tse controls to st the main effet parameters. Since you can se Contol Change messages to modify parameter V3: tes, the amount of data wil not be excessively lange, even you modify parameter values during song Also, if you are using a keyboord or other instrument to play, you can use controllers to modify the values in rel time. Sect (Control Source 1) Deptt (Conta! Depth 1) Sxc2 (Control Source 2) Depa (Control Depth 2) ‘Asan example, we will explain how to use “Sec” “Depth 1 tocontol the mal-ffect from a MIDI keyboard 1. Press [PATCH}EDIT] (the incicatrs light), 2.Use CURSOR [ ft] to move the cursor to the menu 3. Soloct“Mul-FX,"by rotating the VALUE dial "Mult-FX" consi of two pages Here we will elect the fol dowsing page = pee 7 = Control Sri: off |Derthirt 8 Srezt OFF | berths 8 4, Use CURSOR [ A 1 V ] [<4] [J to move the cursor to°Seet 5. Rotate the VALUE dal to adjust the value. For this example select "C16." 6.Use CURSOR [ 11 V ][—4) [P| to move the cursor toDeptnt." Eg po 7 Tureiex om Contr sresrecie Srezt Off | beetnat 7. Rotate the VALUE cal to adjust he valu. For this example, select "4100" 8. Set the controller of the MIDI keyboard to transmit “cons, For details, refer to the owner's manual of your MIDI key~ board 51 CeaChapter 5. Applying Special Etfects to the Sound (Multl-Etfects) Now the controle f the MIDI keyboard will be able to con- trol the maltvefect, "See (Control Source 1) can be used to contol the mult cffect parameters that ae marked with a+ @ Sre1: Off/CC1-95/CAF/Bend (Control Source 1) © Sre2: Off/CC1-95/CAF/Bend (Control Source 2) Species the coils that you wish to use. “See” he para- meter marked with a+” a the left of the parameter name Sec will contol he parameter marked with "at the Info the parameter name. 1-95: Controle numbers 195 CAL Channel aftertouch Bend: Fie bend * For CC 1-95, make sre ta he etng maces the cone ttt of the cic ti trong the MIDI messages @ Depth: -100-+100 (%) (Control Depth 1) © Depth2: -100-+100 (%) (Control Depth 2) “These speci the percentage of the full parameter range in which change wil actually occur when a controle suse Higher values wil allow a greater range of change this ‘value i cto, the contol wil nt affect the effect para mete. With negative ( settings, the change willbe inverted “The controller wil incense decrease the value ofthe effect parameter relative tothe value that was set from the pane A this time the value displayed on the Display will not change ‘When Depth has a positive (+) setting Display setting vale vale ro controller x depth) 100 ‘When Depth has a negative () setting Display setting value-value fom controller x dept) / 100 < Example > The Drive parameter of PAS: Overdrive normally changes in the range of 0-127. When this parameter is modified by a controller, it will change in the ange of 0-127 if the Control Depth value is 100, With a value of +50, i will change i the range of 0-68 Ge, SO% oF 2, Normally 0-127 0-17 -+0-64 127-0 52 Types of Multi-Effects Effect types can be broadly grouped into the following cate sories Individual Effects Ertets that modly the fone color (iter typo) (P-01-P-04) Effects thal stot the sound (distortion type) (P-05-P-08) Effects that modulate the sound (modulation type) (P-07-P- 13) Effects that atfloct the level (compressor type) (P-14-P-15) Effects that broaden the sound (chorus type) (P-16-P-20} Effects that add reverberation to the sound (dolayeverb ‘ype (P-21-P-28) Etats thal modly the pitch (pitch shit ype) (?-29-P-30) Others (P-31--94) Series Effects Effects that connect two types of effec in series (series 2) (P.35-P-46) Effects thal connect three or more types of etfat in series (Geries aisetis 4/series 6) (P-47-P-55) Parallel Efects Etfects mat connect two types of eect n paral (paratel 2) (P-56-P-64) Inthe explanations that follow, the hexadecimal values used when making settings via exclusive messages are given at the end of the effect type ine. The parameter number is given in decimal form atthe end of the Effect Parameter lin. Use these values when you use MIDI messages to set para- meters. For details on using exclusive messages, reer € p. 50,91, 18 The algor ‘The various parameters explained below are grouped by their algorithm, hm connection is shown below the effect name. << Example > Poors yer re (Car) ‘This means thatthe value for Address 0H (SH (0H is MS 1H, LSB: 00H. For example, if you wish to set the effect type to P-O1 Stereo-E, use an exclusive message sich asthe following: F041 10 42 12 40.93.0001 00.30 F7 address value The algorithm connection 2Hrour somone) [1] Describes tht it's the fest parameter Tow. Low FrequencyChapter 5. Applying Special Etfects to the Sound (Multi-Effects) eS Parameter numbers andl Excusive message addresses corre- spond as follows (p. 186,187) I) 4903 03 © {tt} 4003 0D fa os 12} oe 3) 5 tt3) oF 4 ota) 10 5) or it5) 1" a 0 tN6) 2 a on 3 8) oA 18) 1“ fl 0B [19 15 19) oc fe} 16 * Parameters with “+” oF “#" symbols allow yeu to modify their balue using scifodcomteoller, such as pte bend lever and sliders or wi contal change messages. (p. 5) When Using SD Effects the following four 3D effects utilize RSS (Roland Sound] space) technology to creat a spaciousness that cannot be Produced by delay, reverb, or chorus, ee 20:90 Chorus P.28:30 Delay Pat: aD Auto 32:30 Manual When using these effects, we recommend that you place your speakers as follows. Also, make sure thatthe speak- ers are ata suficient distance from the walls on either ide. 1 the left and right speakers are too far apart or if there] is too much reverberation, the full 3D effect may not pear. Each of these effects has an “Output Mode" parameter. If the sound from the OUTPUT jacks will be hear through speakers, set this parameter to Speaker Ifthe sound will be heard through headphones, set it to Phones. This wil] [ensure thatthe optimal 2D effect will be heard. If this parameter isnot set correctly, the full 3D effect may not appear Individual Effects P-00: Thru Coa No Effect willbe applied. When a General MIDI System On (oF GS Reset messages (p. 110) is received, 7-00: Thru will be selected for mult-etfects. ‘When "P.00 Thru" is selected, pressing [EDIT] will access the following display. f you wish to edt the mult-ffects, {You mst fis select the mult-efects type P-06, © Effects that modify the tone color (filter type) OnLD) ‘This is a fourband stereo equalizer love, mid x2, high). L eo R = LOW-MIDI-MID2-HI-OUT Low] Low Froquency 2oor400H (1) Saletsthe frequency ofthe ow range (200 Hs /400 Ha) Low Gain “12-412 (dB)[2} Adjusts the gin ofthe low frequen. ImD1} twa Freq. (Mid 1 Frequency) 200-6242 (5) ‘Aajusts the frequency of Mid 1 oni range 1) iat 0.5/1.072.0/4.09.0 [6] “This parameter adjusts the width of the areo around the Mid 1 Freq parameter that wil be affected by the Gain setting Higher values of Q will result in a narrower area being aects iat Gain -12-912(48) (7) ‘Adjusts the gain for the area specified by the Mid 1 Freq, parameter and Mid 1 Q parameter settings [miD2] ‘Mia2 Freq, (Mid 2 Frequency) 2o0Hz-6.3kH2 (8) ‘Aajsts the frequency of Mid 2 (mid range?) 53Chapter 5. Applying Special Effects to the Sound (Multi-Etfects) ig? a 051.02.04.09.0 (9) “This paramter adjusts the width ofthe area around the Mid 2. Freq parameter that will be afeted by the Gain setting. Higher values of Q will result in # narrower atea being ected Mid2 Gain 12-412(48) [10] ‘Adjusts the gain forthe area specified by the Mid 2 Freq parameter and Mid 2Q parameter settings tH] High Frequency sivoktte [3] Selects the Frequency ofthe high range (4 kH2/8 kHz). High Gain -12-+12(¢8) [4] Adjusts the gain of the high frequency. four] ++Output Level 0-127 (20) Aajusts the output level, an (OAC Spectrum is a type of iter that modifies the timbre by boost- {ng or cuting the level at specific frequencies. It is similar to an equalizer, but has 8 frequency points fixed at locations most suitable for adding character tothe sound. W (1-2:3-4-5-6-7-8)-OUT wi Band Width 0.8/1.012.04.0/.0 [9} ‘Adjusts the width of the frequency bands whose gain is being modified (common to all nde). Higher settings will make the frequency band narrower. a Band 1 (Band 1 Gain) Adjusts the 250 Hz level. -12-412(¢8) (1) (1 Band 2 (Band 2 Gain) Acjsts the 500 Hz level, (31 Band 3 (Band 3 Gain) Adjusts the 1000 He (1 KH) level (4) Band 4 (Band 4 Gain) ‘Adjusts the 1250 He level 54 12-+12(€8) (2) “12-+12(48) [3] 12-412(¢8) (4) 15) Band § (Band § Gain) Adjusts the 2000 He level [6] Band 6 (Band 6 Gain) Aajusts the 3150 Hz level, 7 Band 7 (Band 7 Gain) ‘Adjusts the 4000 Hz level, (8) Band 8 (Band 8 Gain) ‘Adjusts the 8000 Hz level, four] +Pan (Output Pan) {Ls3-0-R63 [19] Adjusts the stereo location ofthe output sound. L&S is far lett 0is conte, and R63 is arr Level (Output Level) Aadusts the output level arn (CA ‘The Enhancer controls the overtone structure ofthe high fre quencies, adding sparkle and tightness tothe sound, Citas © EB) t a — Lee HOT 12-+92(48) [5] 12-+12(48) [6] 12-412(€8) (7) “12-+12(€8) [8] 0-127 (20) ENHANCER-OUTPUT [ENHANCER] Sensitivity enrin -Aajst the sensitivity of the enhancer. ‘Mix Level o-127 2) Adlusts the ratio by which the overtones generated by the enhancer are combined with the direct sound. [output] Low Gain 12-412(48) [17] ‘Adjusts the gain ofthe low frequency range: High Gain -12-412(4B) [18] Adjusts the gain of the high frequency range. Output Level 0-127 (20) Adjusts the output levelChapter 5. Applying Special Effects to the Sound (Multi-Effects) anes (OE This adds a vowel character to He sound, making i similar toa human voice _ 7 DRIVE-VOWEL-OUTPUT [pRIve] Drive (0-127 [1] ‘Adjusts the depth of distortion. Drive Switen Tame Dive on/oft [vowet] Vowel Selects the vowel Accel 0-15 (4) ‘Adjusts the time over which the sound will move to the specified Vowel. Smaller values will require more time. cotton (2) aliuefo (3) foureur) L Gain (Low Gain) 112-+12(GB) [17] Adkists the low frequency gin H Gain (High Gain) 712-+12(4B) [18] Adj the high requeney gain output Pan L60-0-nes 19] ‘Adjusts the stereo position of the output sound. L63 is far lef 0 ie center, and R63 i far right. output Level 0-127 20) Adjusts the output volume. © Effects that distort the sound {distortion type) Barn (CECE) ‘Tis effect creates a soft distortion similar to that produced Dy tube amplifiers L » Over [Amp eve F]_smuatr FL & PL) Pa OVERDRIVE-AMP-OUTPUT [OVERDRIVE] 40rive Adjusts the degre of distortion, o-na7tt) [AMP] ‘Amp Type (Amp Simulator Type) ‘SmaluitvDouble Stack/Triple Stack [2] Selects the type of guitar amp. ‘Smal small amp Buln: single-unit type amp Double Stack: large double stack amp Triple stack: large triple stack amp ‘Amp Switch ‘Turns the Amp Type on/off [ourpur] Lain (Low Gain) -12-412(08) 17] Aust the gain ofthe low frequency range. H Gain (High Gain) -12-412(4B) [18], Aust the gain ofthe igh frequency rang. Output Pan Ls3-0-F63 (19) Aiusts the stereo location of the outpat sound. 163 is far left, is center, and RES is for right ‘ottion (3 ‘Output Level 0-127 20) Adjusts the output level eee [COC ARELO) ‘This effect produces a more intense distortion than Overdsive Tae isorion Hare, H ea HY ran DISTORTION-AMP-OUTPUT [DISTORTION] Drive o-27 1m) Adjusts the degree of distortion [AMP] ‘Amp Type (Amp Simulator Type) ‘SmalvBullt-vDouble Stack! Triple Stack (2) Selects the ype of guitar amp, ‘Smal small amp Bulli: single-unit type amp Double Stack: large double stack amp Triple stack: large triple stack amp ‘Amp Switch onion 3), ‘Turns the Amp Type on oll [outpur] L Gain (Low Gain) “12-412(48) (17), Adjusts the gain ofthe low frequency range 55 CeaeaesChapter 5. Applying Special Effects to the Sound (Multi-Effects) Gain (High Gain) 12-+12(d8) (18) Adjusts the gain ofthe high frequency range {Output Pan 1L63-0-Res [19] Adjusts the stereo location of the output sound. L63 is far left, Ois center, and RES is far right. Output Levet Aust the output level. 0-127 {20} @ Effects that modulate the sound (modulation type) P-07: Phaser (OLE ‘A phaser adds a phaseshifted sound to the original sound, proxtucing a twisting modulation that cretes spaciousness and depth, t a a {cero} PHASER-OUTPUT [PHASER] ‘Manual + 0H2-8.0ktH2 [1] Adjusts the basic frequency from which the sound will be modulate. nate 0.05-10.0(H2) [2] ‘Aajusts the frequency (period) of modulation, Depth 127131 ‘Aajusts the depth of modulation. Resonance O27 14) ‘Adjusts the amount of emphasis added to the frequency range strrounding the basic frequency determined by the Manual parameter seting {ouTPuT] Mix Level 0-127 5} ‘Adjusts the ratio by which the phaseshilfed sound is com- bined with the direct sound. Gain (Low Gain) -12-412(08) (17] Adjusts the gn ofthe low frequency range: 1 Gain High Gain) “12-412(4B) [18] Adjusts the gain of the high frequency range Output Level Adjusts the output level. 0-127 (20), 56 [O1H, 21H] The Auto Wah cyclically controls a filer to create cyclic change in timbre WAH-MODULATION-OUTPUT [wan] Fittype (Fitter Type) Selects the type of iter LPF: The wa effect will be applied over a wide fe- quency range BPF: The wah effect willbe applied over a narrow fre quency range. ‘Sens (Sensitivity) 0-127 (2) ‘Adjusts the sensitivity with which the filter is controled. If this value is inereased, the filter frequeney will change more readily in response tothe input level LPFIBPE [1 Manual 0-127 (3) Adjusts the center frequency from which the effet is applied Peak o-127 (4) Adjusts the amount ofthe wal effect that will occur in the vicinity of the center frequency. Lower settings will cause the effet to be applied in abroad area around the center fe- quency. Higher settings will couse the eect tobe applied in 4 more narrow range. ln the case of LPF, decreasing the value will cause the wah eet to change less. [MODULATION] arate 0.05-10.082 {5} Aust the speed ofthe modulation, Depth 0-127 (6) ‘Adjust the depth ofthe modulation. Polarity Downvup (71 Sets the direction in which the frequency will change when the filter is modulated, With a setting of Up, the filter will change toward a higher frequency. With setting of Down it will change toward a lower frequency. [ourpuT) L Gain (Low Gain) -12-412(48) [17] Adjusts the gain ofthe Tow frequency range for EQ H Gain (High Gain) 12-412(4B) [18] ‘Adjusts the gain ofthe high frequency range for EQ Output Pan 1L63-0-Re3 [19] Adjusts the stereo location of the output sound. L63 is for left0 is center, and R63 is far right.Chapter 5. Applying Special Effects to the Sound (Multi-Eftects) ‘Output Level Aust the output level oe L fata} 8 {3} LOW-HIGH-SP-OUTPUT low ‘Slow Rate (Low Frequency Slow Rate) 0.05-10.0Hz [1] ‘Adjusts the slow speed (Slow) ofthe frequency roto. Fast Rate (Low Frequency Fast Rate) 0.05-10.0H 2} Ads the fst pee (ast ofthe low frequen rotor. Accel (Low Frequency Acceleration) 0-15 [3] ‘Adjusts the time it toes forthe Tv frequency oor to each the nevly seated speed when switching fom fast to slow (or stow to fost speed. Lower values will requice longer 0-127 (20), Since the movement of the high range and low Level (Low Frequency Level) 2718) Adjusts the volume ofthe lor frequency oto: [HIGH] Slow Rate (High Frequency Slow Rate) _0.05-10.0Hz [5] Adjusts the slow speed (Slow ofthe high frequency rotor. Fast Rate (High Frequency Fast Rate) 0.05-10.0Hz 6} Adjusts the fast speed (Fast) ofthe high frequency rotor ‘Accel (High Frequency Acceleration) ost ‘Adjusts the time it takes for the high frequeney rotor to reach the newly selected speed when switching from fast to slow (oF slow to fast) speed. Lower values will require longer times. Level (High Frequency Level) 0-127 [6] Adjusts the volume of the high frequency rotor. {sP] ‘Separation 0-127 [9] ‘Adjusts the spatial dispersion ofthe sound. +Speed ‘Slow/Fast [11] Simultaneously switch the rotational speed of the low fre quency rotor and high frequency rotor. ‘Siow. Slow down the rotation to the specified speed (the /IFigh] Slow Rate Low! Slow Rate paramet parameter values) Fast: Speed up the rotation tothe specified speed (the [Love Fast Rate parameter/[High] Fast Ree para- eter values) [ourpur) Low Gain 42-+12(48) (17] ‘Aajusts the gai ofthe low frequency range for EQ. High Gain -12-412(48) [18] Aalst the gain ofthe high frequency range for EQ. Output Level 0-127 (20) Adjusts the output eve Boers [O1H, 23H] ‘This isa stereo flanger. It produces a metallic resonance that rises ad falls ike 2 jet airplane taking off or landing. A filter is provided so that you can adjust the timbre ofthe Ranged sound, FIL-FLANGR-OUTPUT (ry Pre Filter Type Selects the typeof file. Off: after will not be sed LPF: cut the frequency range above the Cutoff parame- HPF: cut the frequency range below the Cutoff parame- Cutoff Freq (Cutott Frequency) ‘Aajusts the base frequency ofthe filter On/LPFIHPE [1] 250H2-8 kHz [2] [FLANGR] Pre Dl (Pre Delay Time) 0-100 m5) 3) ‘Adjusts the time delay From when the diet sound begins unl the processed sound is hese Depth 012715), Adjusts the depth of modulation ‘Rate 0.05-10.0(H2) (8), Aaiusts the rate of modulation Phase 0-180 171, Adjusts the spatial spread of the sound. Feedback Level 98% 498% [6] Adjusts the amount (%) of the processed sound that is returned (fed back) into the input. Negative (settings will invert the phase. 57 CaosChapter 5. Applying Special Effects to the Sound (Multi-Effects) —————— {ourpuT] Bal (Effect Balance) Dry100, Effect 0-Dry 0,Ettectt00 (16) Adjusts the volume balance between the direct and the processed sound, Gain (Low Gain) -12-412(48) (17) Adjust the gain ofthe low frequency range. H Gain (High Gain) -12-412(48) [18], Aaijusts the gain ofthe high frequency range ‘Output Level 0-127 (20) ‘Aajusts the output level, Eco [O1H, 24H] ‘The Step Flanger is an effect in which the flanger piteh changes in steps MOD-STEP FLANGER-OUT [Mop] PreDelay Time 0-100msec 1] Adjusts the time delay from when the direct sound begins until the processed sound is heard ate 0.05-10.0H (2) Adjusts the ate of modulation Depth 12719} Adjusts the depth of modulation ISTEP FLANGER] Feedback Lovel -90%-+190% (8) Adjusts the amount (%) of the processed sound that is returned (fed ack) into the input. Negative () settings will, invert the phase, Phase 0-180 (51 ‘Aajusts the spatial spread ofthe sound, Step Rate 0.05-10.0H2 [6] ‘Adjusts the rate (period) of pitch change. four] Bal (Effect balance) Dry100, Effect O-Dry 0,Etfectt00 [16] Adjusts the volume balance between the direct and the processed sound, L.Gain (Low Gain) -12-412(48) (17) Adjusts the gain of the low frequency range H Gain (High Gain) -12-412(48) [18], Aust the gain ofthe igh Frequency range 58 Output Level 0-127 (20) Aaiusts the output level. en [O1H, 25H] Tremolo cyclically modulates the volume to add tremolo effect othe sound. L {ree —}- [a }-— a ca TREMOLO-OUTPUT [TREMOLO] Modulation Wave DATED ALAIN tH Selects the type of modulation. PAN The sound wl be modulated Uke tae Fun; The sound will be modulated ike 2 AAA: The sound will be moult ke ie AANA ie sound wl be moduli ke 9 a tno wave ‘¢Modulation Rate ‘Adjusts the speed of modulation, (0.05-10.0(H2) (2) ‘HMlodulation Depth on713) Adjusts the depth of modulation. [output] Low Gain -12-442(48) (17] ‘Adjusts the gan of the low frequency range. High Gain -12-412(4B) [18] Adjusts the gain ofthe high frequency range. Output Level 0-127 (20) Adjusts the output level ET (CET) The Auta Pan effect cyclically modulates the stereo location ofthe sound, L ec R Taam} ea}Chapter 5. Applying Special Effects to the Sound (Multi-Effects) AUTO PAN-OUTPUT [AUTO PAN] Modulation Wave AAUP ALAIN (1) Selects the type of modulation. “\The sound will be modulated like a trian- le wave, FLL: The sound will be modulated like @ square wave, AA: The sound will be modulated like 9 sine 271-1 NES The sound will be modulated like 9 saw: tooth wave. ‘+Modulation Rate Adjusts the frequency of modulation, 0.05-10.0(H2) (2) ‘Modulation Depth 012713] Adjusts the depth of modulation, [ourruT} Low Gain -12-412(€8) (17) ‘Adjusts the gain ofthe low frequency range High Gain -12-412(68) [18] ‘Adjusts the gain ofthe high frequency range. Output Level 0-127 [20 Adjusts the output level © Effects that affect the level (com- pressor type) Ler {O1H, 30H] ‘The Compressor flattens out high levels and boosts low lev ls, smoothing out unevenness in volun _ 7 [COMPRESSOR] ‘Attack 0-127 1) Adjusts the attack time of an input sound. Sustain 0-127 (2), Adjusts the time over which low level sounds are boosted until they reach the specified volume Increasing the value will shorten the time. When the value is ‘modified, the level will also change. Post Gain ‘Adjust the output gain, orssi012/448 (3) [ourpur) L Gain (Low Gain) ‘Adjusts the low frequency gain, -12-412(48) [17] H Gain (High Gain) -12-492(4B) (18) ‘Adjusts the high frequency gain +Output Pan 1L63-0-R63 [19] Adjusts the stereo location ofthe output sound, L63 is far ef, 0 is center, and RES is fa right #utput Lev 0-127 20) Adjusts the output level ees [O1H, 31H] ‘The Limiter compresses signals that exceed specified vol ume level, preventing distortion from occurring, poset OUTPUT [uiTeR] Threshold Level ona7(t) Adjusts the volume at which compression will begin. ‘Comp. Ratio (Compression Ratio) 15, 172,14, 11100 (2), ‘This adjusts the compression ratio for signals that are louder than the Threshold Level. 1/100 isthe highest compression ratio, and the output level will decrease. Release (Release Time) 0-127 (3), [Adjusts the time from when the volume falls helow the ‘Threshold Level until compression ie no longer applied. Post (Post Gain) olyer+124418 [4] Adjusts the output gain [ourpur) L Gain (Low Gain) -92-412(68) (171 Adjusts the low frequency gain, 1 Gain (High Gain) ‘Aajusts the high frequency gain. Output Pan 1s3-0-Re [19] ‘Adjusts the stereo location of the output sound, LAS i far left 0s centr, and RES is fa right Output Level adjusts the output level, -12-412(4B) [18] 0-127 (20) 59Chapter 5. Applying Special Etfects to the Sound (Multi-Etfects) SS © Effects that broaden the sound (chorus type) Eres (OAT Hlexachorus uses a sixphase chorus (sx layers of chorused sound) f give richness and spatial sprea to the sound. Anes [OAL Tremolo Chorus is a chorus effect with added Tremolo (eyelie modulation of volume) Tiercie Tremoio [Balance cherie |_Baerce . 7 CHORUS-TREMOLO-OUTPUT [cHo] DLY-HEXA CHO-OUTPUT PreDelay Time o-t00msee (1) {Aasts the tme dela from whan the det sound begins (pLy] unt the chorus sound hear Prepelay Time 0-100 msec] chorus Rate 0.05-10.0H2 (2) Adjusts the time delay from when the diect sound begins Adjusts the modulation speed of the chorus fect unt the processed sound shear. eee an PreDelay Deviation ©-20[6) Adjusts the mestlation depth ofthe chors eet ‘The Pre Delay is the time from when the orginal sound ‘egins unti the chorus sound is heard. Tis adjusts the iF [TREMOLO] ference in Pre Delay between each of the six phases of ho> Tremolo Phase orm rus sure Acute the width of the tremolo sound [REXA CHO] “Tremolo Rat (Tremolo Rate) 0.05-10.0h2 {5} Adis the modulation sped of the temalo eet Rate 006-10.0(H2) 2] ‘Adjusts the rate of modulation. een eee oon on just the spatial apread of the tremolo fe Adjusts the depth of modulation Depth Deviation 20-4208] Adjusts the difference in modulation depth between each of the six phases of chorus sound Pan Deviation 0-20 (6) Adjusts the difference in stereo position between each ofthe six phases of chorus sound. With a setting of 0 al the chorus. sound will be located in the center. With setting of 20 each horus sound wil be place in 30 degree intervals relative to the conter position [outrur] Bal (Effect Balance) Dry100, Effect O-Dry 0, Efect100 [16] [Adjusts the volume balance between the direct and the processed sound. L Gain (Low Gain) “12-412(0B) [17] [Adjusts the lve frequency gain. 1 Gain (High Gain) “12-412(08) [18] Adjusts the high frequency gat ‘Output Level 0-127 (20) Aalusts the output level 60 [ourpur] ‘#Bal (Ettect Balance) Dry100, Etfect 0-Dry 0, Ettecttoo [16] Adjusts the volume balance between the direct and the processed sound, L Gain (Low Gain) Adjusts the low frequency gain H Gain (High Gain) Adjusts the high frequency gain -12-492(€8) [17], -12-412(48) [18], Output Level 0-127 (20) Ast the output level ESTs [OR This is a stereo chorus. A filer is provided so that you can adjust the timbre ofthe chorus sound. L g a}, ca (crea } aChapter 5. Applying Special Effects to the Sound (Multi-Effects) FIL-CHORUS-OUTPUT (ry Pre Filter Type Selects the type of filter. Off: filter will not be used LPF: cut the frequency range above the cutoff HPF: cut the frequency range below the cutoff Cutoff Freq,(Cutott Frequency) _250H2-BktHe [2] Adjusts the center frequency of the filter for the chorus sound for the chorus sound, OfMLPFPF (1) [cHoRus) ProDelay Time 0-100msec [3] Adjusts the Hime delay from when the direct sound begins ‘until the processed sound is heard Rate Aajust the rate of modulation, Depth ‘Adjusts the depth of modulation, Phase ‘Adjusts the spatial spread of the sound, [output] {#Bal (Etfect Balance) Dry100, Effect O-Dry 0, Effectt00 [16] Adjusts the volume balance between the direct and the processed sound 0.05-10.0H2 (4) o-2715) 0-180 7) Gain (Low Gain) -12-412(€8) [17] Adjusts the gain ofthe low frequency range. H Gain (High Gain) -12-+12(48) [18] Adjusts the gain ofthe high frequency range. Output Level 0-127 20 Adjusts the output evel RTT) [O1H, 43H] Space-D isa multiple chorus that applies two-phase medula- tion in stereo. It gives no impression of modulation, but pro= duces a transparent chorus effect, SPACE D-OUTPUT [SPACE D] PreDelay Time 0-100msee [1] Adjusts the time delay from when the direct sound begins until the processed sound is heard ‘Rate 0.05-10.0H2 [2] Adjusts the rate of modulation Depth 0-127 [3] ‘Adjusts the depth of modulation, Phase 0-180 [4] Adjusts the spatial spread ofthe sound, fourpur] (Bal (Effect Balance) ‘Dry100, Effect 0-Dry 0, Effect100 [16] ‘Adjusts the volume balance between the direct and the processed sound L Gain (Low Gain) -12-412(48) [17] Adjusts the gain ofthe lowe frequency range. H Gain (High Gain) -12-+12(48) 18) ‘Adjusts the gain ofthe high fequeney range. Output Level 0-127 (20), Adjusts the outpat level P-20: 3D Chorus [O1H, 44H] ‘This applies a 3D effect to the chorus sound. The chorus sound will be positioned 90 degrees left and 90 degrees right. 3D CHORUS-OUTPUT [3D cHoRus] PreDelay Time 0-100msee [1] ‘Adjusts the time delay from when the direct sound begins util the processed sound fs hen -#Rate (Chorus Rate) 0.05-10.0(H) (2), Aajusts the modulation speed ofthe chorus sound. Depth (Chorus Depth) Aaijusts the modulation depth ofthe chorus sound. ‘Output Mode ‘Speaker/Phones [15] Specifies the method that will be used to hear the sound ‘whichis output tothe OUTPUT jacks. The optimal 3D effect wil be achieved if you select Speaker when using speakers, ‘or Phones when sing headphones (p. 53) 0-127 (3) neo) Dry100, Etfect O-Dry 0, Etfectt00 (16) Adjusts the volume balance between the direct and the processed sound, L Gain (Low Gain) -12-412(68) [17] Adjusts the gain ofthe low frequency range 61 CeChapter 5. Applying Special Etfects to the Sound (Multi-Etfects) Leen eee eee ee ee eee ccc ee EEE H Gain (High Gain) 12-412(48) [18] Adjust the gain ofthe high frequency range. Output Level Aust the output level 0-127 (201) @ Effects that add reverberation to the sound (delay/reverb type) ZaaSSSECcs [01H, 50H] Ths sa stereo delay. Feeback Mode is Norm [DELAY] ‘TimeL (Delay time tet) Adjusts the time from the original sound until the lft delay sound is head. 0-so0m(s) (11 ‘TimeR (Delay time right) (0-500) (21 ‘Adjusts the time from the original sound until the right delay sound is hear. Phase L (Phase lett) Seleets the phase ofthe left delay sound. NNotm: Phase will not be changed. Invert: Phase will be inverted, Phase R (Phase right) Selects the phase ofthe right delay sound. Norm: Phase will not be changed, Invert: Phase will be inverted, Norminvert [5] Norranvert [6] [FB] +#Feedback Level 98%1-+90% [3] Ajusts the proportion (%) ofthe processed sound thats fed back into the effect. Negative (-) settings will invert the phase 62 Feedback Mode Normicross (4) Selects the way in which processed sound is fed back into the eect. Norm: The left delay sound wil be Fed back into the left delay, and the eight delay sound into the right delay. (Cross: The left delay sound will be fed back into the right delay, and the right delay sound into the left delay HF Damp ‘318H2-Sktt2/Bypass (8) ‘Adjusts the frequency abwve which sound fed back to the effect will be cut. If you do not want to cut the high frequen ies ofthe feedback, set this parameter to Bypass. (ourPuT] ‘Bal (tect balance) Dry100, Effect 0-Dry 0, Etfect100 (16) Adjusts the volume balance between the direct and the processed ound L Gain (Low gain 12-+12148) 117 Adjusts the gino the ow frequency range. H Gain (High gain) 12-+12(48) [18] Adjusts the pan ofthe high frequency rage. Output Level 0-127 (20 Adjusts the outpat level 2: Modulation Delay _[O1H, 51H] This effect adcls modulation to the delayed sound, produc: ing an effect similar to Hanger Feedback Mode is Norm Cae eee Loar HH foams §foaay HF HL Balance, ae Feedback Mode is Cross imme] Delay Time L (Delay Time Left) 0-500msec [1] Aas the ine fom the rginal sound wil he ft ely sound is hes Delay Time R (Delay Time Right) __—_0-SO0msee [2 ‘Adjusts the time fom the orginal sound until the right deny sound is heardChapter 5. Applying Special Effects to the Sound (Multi-Etfects) (FB) Feedback Level 96%-+98% [9], ‘Aajusts the proportion (i) of the processed sound that is fed back into the effect. Negative () settings will invert the phase Feedback Mode NormiCross [4] Selects the way in which processed sound is fed back into the effet, Norm: The left delay sound will be fed back into the left delay, and the right delay sound into the right delay. Cross: The let delay sound will be fed back into the right delay, and the right delay sound int the left delay. HF Damp ‘318H2-SkH2/Bypass [8] Adjusts the frequency above which sound fed back to the effect will be cut If you do not wish to cu the high Fresquen cies ofthe focdback, set this parameter to Bypass. [mop] ++Modulation Rate ‘Adjusts the speed of the modilation, 0.05-10.0(H2) (5) Modulation Depth 0-127 (6) ‘Adjusts the depth of the modulation, Modulation Phase 0-180 (7) Aust the spatial spread ofthe sound. [ourPuT] ‘#Bal (Eect Balance) Dry100, Effect O-Dry 0, Etfectt00 (16) ‘Adjusts the volume balance between the direct and the processed sound, Gain (Low Gain) 12-41 2(08) [17] Acjusts the gain of the low frequency range. H Gain (High Gain) -12-+12(4B) 18] ‘Aajusts the gain of the high requency range Output Level Adjusts the output level 0-127 (20) Perera ere) [O1H, 52H] ‘The Triple Tap Delay preduces tee delay sounds: center, left and right L ‘TME-LEVEL-FB-OUTPUT [Time] DelayTimeCenter 200-890ms/t sec [1] ‘Adjusts the time delay from the direct sound unl the center delay sound i heard DelayTime Left ‘Adjusts the time delay from the di delay eound is head. DelayTime Right 200-990ms/1 soe [3] ‘Adjusts the time delay fom the direct sound until the right delay sound is heard, 200-990ms/t see [2] sound anti the left [LEVEL] Delay LevelCenter Aust the volume of center delay sound. Delay Level Lett ‘Adjusts the volume of left delay sound. Delay Level Right Adjusts the volume of right delay sound. 0412715), 0-127 18) 0-127 (re ‘Feedback Lovel -98%-+98% (6) ‘Adjusts the proportion (i) ofthe Center Delay sound hat is fod back into the elect Negative () stings wil invert the phase HF Damp 315He-Bktt/Bypass [8] ‘This adjusts the frequency at which the high range is cut ‘when the Center Delay sou is retuned to the input. you do not wish oct the high ange, set histo Bypass. foutur] ‘Bal (Etfect Balance) Dry100, Effect O-Dry 0, Etfoctt00 [16] Adjusts the volume ba ‘processed sound, L Gain (Low Gain) adjusts the gain ofthe Tow frequency mice between the direct and the -32-412(¢8) (171 ange aesChapter 5. Applying Special Effects to the Sound (Mult-Effects) ———— H Gain (High Gain) 12-1245) (18) [Adjusts the gain ofthe high frequency range. Output Lev 0-127 (20) Adjusts the output ve Pore Quadruple tap delay) __[01H, 53H] The Quadcuple Tap Delay has four delays [rime] ‘Timot (Delay Time 1) Adjusts the time delay from the dircet sound until delay 1 sound is heard 200-990m(s)/160¢ [1] ‘Time2 (Delay Time 2) 200-990m(s)/1se¢ [2] Adjusts the time delay from the direct sound until delay 2 sound is heard. ‘Timed (Delay Time 3) 200-990m(s)/50¢ [3] Aaiuats the time delay from the direct sound until delay 3 sound is heord ‘Timed (Delay Time 4) 200-090m(s)/150¢ [4] Adjusts the time delay from the direct sound until delay 4 sound is heard [Level] Levelt (Delay Level 1) 0-127 18) Aas the volume of delay 1 sound. Levet2 (Delay Level 2) 0-127 16) Adjusts the volume of delay 2 sound, Levels (Delay Level 3) oa7 m7 Adjusts the volume of delay 3 sound, Levels (Delay Level 4) 01278) cuss the volume of delay 4 sound. (FB) ‘Feedback Level 80% -490% [9] Aajusts the proportion (%) of the Delay 1 sound that is Fed back into the effect. Negative (-) settings will invert the phase. HF Damp ‘315H2-kHe/Bypaes [10] This adjusts the frequency at which the high range is cut when the Delay t sound is retumed to the input. If you do ‘not wish to eut the high range, set this to Bypass 64 [ourpuT] ‘#Bal (Etfect Balance) Dry100, Etfect 0-Dry 0, Etfectt00 [16] Adjusts the volume balance between the direct and the processed sound Gain (Low Gain) -12-412(€8) (17) Aust the gain ofthe low frequency range. H Gain (High Gain) -12-412(48) [18] [Adjust the gain ofthe high frequency range. Output Level 0-127 20) Adjuts the output evel ary (Une) (CLAY) This effect allows you to use a specified controller (the con- troller selected in Control Source display (p. St) to control the delay time and pitch in real time. Lengthening the delay time vill lower the pitch, and shortening. it will raise the pitch [re pty] ‘Delay Time ‘Adjusts the time delay from the ditect sound until each delay sound is head. 200-B0msec/tsec [1] ‘Acceleration 041512) This parameter adjusts the speed over which the Delay Time will change from the current setting toa newly specified set ting, The rate of change forthe Delay Time directly affects the rate of pitch change Effect Pan (Effect output pan) 1L69-0-R63 [5] Adjusts the stereo location ofthe processed sound. L63 is far left, Os center, and R63 is far right [Fe] ‘Feedback Lovel -98%-+98% [3] Adjusts the proportion (%) ofthe processed sound that i fed back into the effect. Negative (-) settings will invert the phase, HE Damp ‘15Hz-@ktHe/Bypass [4] [Adjusts the frequency above which sound fed back to the effect will be cut. If you do not wish to cut the high frequen ies ofthe feedback, set this parameter to BypassChapter 5. Applying Speci Etfects to the Sound (Multi-Effects) fourpum 2a (tect Balance) ‘ry00 tect o-Dry 0, ect00 (16) Adjusts the volume Balance Between the direct and the proceed sound Lain Low Gain) -ra-e1(69) (17 Atha the grin of howe quency range Hain (igh Gai) -r2-+1(48) (10) Adjust gino the high fequeney range Output Level 0-127 (20) Adit the output eve a (OAT The Reverb effect adds reverberation tothe sound, sim ing an acoustic space. REVERB-OUTPUT [REVERB] Type (Reverb Type) Room 1/Room 2/Stage 1/Stage 2Hall1/Hall2(1] Selects the type of Reverb effect. FRoom 1 dene reveeb with short decay Room 2: sparse reverb with short decay Stage 1: reverb with greater late reverberation Stage 2: reverb with strong early reflections Hall 1: reverb with clear reverberation Hall 2: reverb with rich reverberation +Time (Reverb Time) 0-127 [3] Aust te time length of reverberation PreDelay Time (o-100msee (2) Aadjusts the time delay from when the direct sound begins lati the reverh sound is heard HE Damp ‘315Hz-BkHte/Bypass [4] ‘Aajusts the frequency above which the reverberant sound will be cut. As the frequency is set lower, more of the high frequencies wil be cut, resulting ina softer and more muted reverberation. If you do not want the high frequencies to be cul set this parameter to Bypass, [ourrur] Bal (Effect Balance) Dry100, Effect O-Dry 0, Eftectt00 (16) Adjusts the volume balance between the direct and the processed sound, L Gain (Low Gain) -12-+12(48) [17] Adjusts the gain ofthe low frequency range H Gain (High Gain) -12-412(0B) [18] Adjusts the gain of the high frequency range. Output Level 0-127 (20) Adjusts the outpt level EAT) (CET) Gate Reverb isa special typeof reverb in which the reverber: aint sound is cut of before its natural length GATE REVERB-OUTPUT [GATE REVERB] Reverb Type (Gate Reverb Type) NormMReverse/Sweept/Swoep2 [1] Selects the typeof reverb Norm: conventional gate reverb Reverse: backwards reverb Sweep!: the reverberant sound moves from right to left ‘Sweep2: the reverberant sound moves from lft to right PreDelay Time 0-100msee (2) Adjusts the time delay from when the direct sound begins tani the reverb sound is heard, Gate Time 5-s00msec 3] ‘Aadusts the time fom when the reverb is heard unti it dis appears [ourur] +Bal (Effect Balance) Dry100, Etfect o-Dry 0, Etfoctt00 [16] Adjusts the volume balance between the direct and the processed sound, L Gain (Low Gain) 92-4128) (171 ‘Adjusts the gain of the ow frequency range. H Gain (High Gain) -12-412(4B) (18) Aadusts the gain of the high frequency range. Output Level Adjusts the output level 0-127 (20), 65 Chapter 5Chapter 5. Applying Special Effects to the Sound (Multi-Ettects) IP-28: 3D Delay [O1H, 57H] ‘This appliesa 3D effect othe delay sound. The delay sound willbe positioned 90 degrees left and 90 degrees right ‘TIME-LEVEL-FB-MODE-OUT. {Time} DelayTimeCenter 0-500ms (1) Adjusts the time from the original sound until the center delay sound begins DelayTime Loft 0-500ms [2] ‘Adjusts the time from the original sound until the left delay sound begins DelayTime Right 0-800ms [3] Adjusts the time from the original sound until the right, delay sound begins. (LEVEL) Delay LevelCenter 0-127 [5] Aajusts the volume of the center delay sound. Delay Level Left 0-127 [6] Adjusts the volume ofthe let delay sound, Delay Level Right oer ‘Ajsts the volume of the right delay sound. {FB} -+Feedback Level (Delay Feedback Level) -96%-+96% [6] Adjusts the amount (¥) ofthe center delay sound that will be reumed to the inp. With negative) setings, the phase ville inverted HE Damp 315Hz-8hHaBypass [8] This adjust the frequency at which the high range is cut when the Center Delay sound is retuned tothe input Ifyou donot wish to cut the high range, et histo Bypass [MODE] ‘Output Mode ‘Speaker/Phones [15] ‘Species the method that will be used to hear the sound that is output to the OUTPUT jacks, The optimal 3D effect will be achieved if you select Speaker when using speakers, or Phones when using headphones (. 53) [outeuT} Bal (Etfect Bi nee) Dry100, Effect 0-Dry 0, Etfectt00 {16} Adjusts the volume balance between the direct and the processed sound, L Gain (Low Gain) -12-412(4B) (17) Adjusts the gain ofthe low frequency range. H Gain (High Gain) -12-412(68) [18] Adjusts the gain ofthe high frequency range Output Level Adjust the outpat level 0-127 20) ‘A Pitch Shite shifts the pitch of the original sound. This 2 voice pitch shifter has two pitch shifters, and ean add two pitch shifted sounds tothe original sound, [pirce] Coarse 1 (Coarse Pitch 1) Adjusts the pitch of Pitch Shift 1 in semitone steps (2-+1 octaves). 2-0-4121) Coarse 2 (Coarse Pitch 2) 2-0-4125) ‘Aajusts the pitch of Pitch Shift 2 in semitone steps (2-+1 octaves). Finet (Fine Pitch 1) -100-0-+100 [2] Makes fine adjustments tothe pitch of Pitch Sif 1 in 2-cent steps (-100-+100 cents) Fine? (Fine Pitch 2) -100-0-+100 [6] “Makes fine adjustments tothe pitch of Pitch Shift? in 2-cent steps (-100-+100 cents) [DLY] ProDelay Time 1 -t00ms [3] Adjusts the ime delay from when the direct sound begins ‘uni the Pitch Shift I sound i heard PreDelay Time 2 0-t00ms (7) [Adjusts the time delay from sehen the direct sound begins ‘uni the Pitch Shift 2 sound is heard Pitch Shifter Mode 1-519) Higher settings of this parameter will result in slower response, but steadier pitchChapter 5. Applying Special Effects to the Sound (Multi-Effects) IPAN] Effect Outputpant L63-0-n63 (4), Adjusts the stereo Tocation ofthe Pitch Shift 1 sound, L63 is {far left is center, and R63 is far ight Effect Outputpanz L63-0-nes (8) Adjusts the stereo location ofthe Pitch Shift 2 sound. L63 is far left, Os center, and R63 is ar right. [pat] Level Balance A> 0B-A 068 [10] ‘Adjusts the voluine balance betwen the Pitch Shift 1 and Pitch Shift 2 sounds. Dry100, Etfect 0-Dry 0, Etfect100 (16) [Adjusts the volume balance between the direct and the processed sound, L Gain (Low Gain) -12-412(68) [17] Adjusts the gain of the low frequency range. H Gain (High Gatn) 12-1216) {18} Adjusts the gain of the high frequency range. ‘Output Level 0-127 (20) Adjusts the output eve rg (Feedback pitch shifter) __[O1H, 61H] ‘This pitch shifter allows the pitch shifted sound to be returned into the effect fprrcHy ‘sCoarse Pitch Adjusts the pitch of the pitch shifted sound in semitone ps (2-+1 octaves) 2-0-4211 Fine Pitch -100-0-+100 2) Makes fine adjustments to the pitch of the pitch shifted sound in 2cent steps (100-+100 cents), [Ly] ProDelay Time 0-100msec [4] ‘Adjusts the time delay from when the direct sound begins Lunt the pitch shifted sound is hear. Pitch Shitter Mode 1-515] Higher seltings of this parameter will result in slower response, but steadier pitch, [FB] ‘Feedback Level 98% ~+90% [3] ‘Adjusts the proportion (%) ofthe processed sound that i fed back into the effect, Negative (+) settings will invert the phase [PAN] Effect Output Pan L63-0-n63 (6) ‘Adjusts the stereo location ofthe pitch shifted sound, 163 is. far left, Os center, nd R63 is far tght. {out} Bal (Effect Balance) Dry100, Effect O-Dry 0, Effectt00(16} ‘Adjusts the volume balance between the direct and the processed sound L Gain (Low Gain) -12-412(€8) [17] ‘Adjusts the gain ofthe low frequency range. H Gain (igh Gain) 12-1248) (16) Aalst the gain ofthe high frequency range. Output Love! 0-127 20) Adjats the output level, © Others P-31: 3D Auto [01H, 70H] The 3D Auto effect rotates the loaton ofthe sound oo R ROTATION-OUTPUT. [ROTATION] Azimuth 180/.168-0-F168 [1] Sets the location at which the sound will stop when rotation {s stopped. ‘A zeting of 0 positions the sound inthe center +Speed 0.05-10.0H2 [2] Sets the speed of rotation. Clockwise #1 Sets the direction of rotation. A setting of *" is counter- clockwise and "+" Is clockwise turn ottion (4) ‘This stops or starts the rotation. When this is tured On, the soured will rotate. When turned Off, rotation will stop atthe location specified by Azimuth, 67 eadChapter 5. Applying Special Effects to the Sound (Multi-Effects) [ourpur) Output Mode ‘Speaker/Phones [15] Specifies the method that will be used to hear the sound that 's output tothe OUTPUT jacks. The optimal 3D effect willbe achieved if you select Speaker when using speakers, or Phones when using headphones (p. 53) Output Levet 0-127 120) Adjusts the outpt evel P-32: 3D Manual [O1H, 71H] This places the 3D effect ata desire locaton, cf > R AZIMUTH-OUTPUT [Azimuth] -+Azimuth 180/L168-0-F168 [1] Species the cation. ‘Asoting of 0 positions the sound inthe center. [ourpur] Output Mode Speaker/Phones [15] Specifies the method that will be used to hear the sound that {s output tothe OUTPUT jacks. The optimal 3D effect will be achieved if you select Speaker when using speakers, oF Phones when using headphones (p53). ‘Output Level 0-127 [20 Ajsts the output level (ie [O1H, 72H] Uri [isan effet that intentionally degrades the sound aualiy > Cea} Pen Lor-oureut [Lori] Pre Filter Type 1-6(1] Specifies the type of filter that will be applied before the sound posses through the Lo-Fi effect Lo-Fi Type 19121 Degrade the sound quality. The sound quality will become poorer as this value is increased. 68 Post Filter Type 1-613) Specifies the type uf filter that will be applied after the sound passes through the Lo-Fi effect. [outpur] ++Bal (Efect Balance) Dry 100, Effect O-Dry 0, Etfectt00 [16] Adjusts the volume balance between the ditcct and the processed sound, L Gain (Low Gain) -12-+12(48) [17], ‘Aust the gain ofthe low frequency range. H Gain (High Gain) -12-+12(€B) (18), ‘Adjusts the gain of the high frequency range ‘sean (Output Pan) L63-0-Re3 19] Adjusts the stereo location of the output sound. L63 is far left, 0is center, and R63 is far right Level (Output Level) 0-127 (20) Adjusts the output level

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