RolandメーカーXV-88の使用説明書/サービス説明書
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Thank you, and congratulations on your choice of the Roland XV-88 128-Voice Expandable Synthesizer. * Windows is a registered trademark of Microsoft Corporation. * Apple is a registered trademark of Apple Computer, Inc. * Macintosh is a registered trademark of Apple Computer, Inc.
CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION : RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION : TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
3 001 • Before using this unit, make sure to read the instructions below, and the Owner’s Manual. .......................................................................................................... 002b • Do not open or perform any internal modifications on the unit.
4 USING THE UNIT SAFELY 102a • Always grasp only the plug on the power-supply cord when plugging into, or unplugging from an outlet. .......................................................................................................... 104 • Try to prevent cords and cables from becoming entangled.
5 Important Notes In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages 2 and 3, please read and observe the following: Power Supply • Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system).
6 How to Use This Manual This owner ’ s manual is organized as follows. But before you start reading it, we ’ d like to suggest going through the Quick Start manual. The separate volume Q & A contains frequently asked questions about the XV-88, along with answers to those questions.
7 How to Use This Manual Notation Used in This Owner’s Manual To make operation procedures easy to understand, the following notation system is adopted: Characters and numbers in square brackets [ ] indicate buttons on the front panel. For example, [PATCH] represents the PATCH button and [ENTER] stands for the ENTER button.
8 Contents Main Features ........................................................................................ 13 Front and Rear Panel ............................................................................ 14 Front Panel......................
9 Contents Chapter 3. Creating Performances ...................................................... 49 How a Performance Is Organized .......................................................................................................... 49 How to Make the Performance Settings.
10 Contents Chapter 7. Adding Effects .................................................................. 105 About the Onboard Effects ................................................................................................................... 105 Effect Types .
11 Contents Initializing Sound Generator Settings (INIT) ..................................................................................... 185 Initializing a Performance .............................................................................
12 Contents Appendices ................................ 213 Troubleshooting .................................................................................. 214 Error Messages .........................................................................
13 Main Features 128-Voice Polyphony The previous maximum number of 64 simultaneous voices has been expanded to 128, providing ample expression capabilities, even with tones composed of a number of combined tones.
14 Front and Rear Panel Front Panel fig.00-02 D BEAM CONTROLLER Section You can apply a variety of effects to sounds simply by moving your hand. → (p. 45) [ON] Switches the D Beam controller on/off. Volume Slider Adjusts the overall volume that is output from the rear panel OUTPUT jacks and PHONES jack.
15 Front and Rear Panel fig.00-03 [RHYTHM] Selects Rhythm Set mode. → (p. 39) [ZONE] When the XV-88 is in Performance mode, this switches it to the Zone mode. → (p. 57) [SYSTEM] Selects System mode. → (p. 168) [UTILITY] Selects Utility mode. → (p.
16 Front and Rear Panel [PHRASE PREVIEW]/[DEMO] PHRASE PREVIEW : Press this when you wish to use phrases to audition a patch. → (p. 32) DEMO : To hear the demo playback, hold down [SHIFT] and press this button. → (Quick Start; p. 21) [PATCH FINDER]/[FAVORITE LIST] PATCH FINDER : Selects a patch by using the Patch Finder function.
17 Front and Rear Panel Rear Panel fig.00-05 fig.00-06 Power Switch Press to turn the power on/off. → (Quick Start; p. 18) AC Inlet Connect the included power cord to this inlet. → (Quick Start; p. 16) With units rated for 117V operation, the AC cable is already connected to the unit.
18 Front and Rear Panel fig.00-11 OUTPUT A (MIX) Jacks (L (MONO), R) These jacks output the audio signal to the connected mixer/ amplifier system in stereo. For mono output, use the L jack. → (Quick Start; p. 16) OUTPUT B Jacks (L, R) These jacks output the audio signal to the connected mixer/ amplifier system in stereo.
19 Chapter 1 Chapter 1. Overview of the XV-88 How the XV-88 Is Organized Basic Structure The XV-88 can be broadly divided into two sections: a keyboard controller section and a sound generator section . The two sections are connected internally by means of MIDI.
20 Chapter 1. Overview of the XV-88 Classification of XV-88 Sound Types When using the XV-88, you will notice that a variety of different categories come into play when handling sounds. What follows is a simple explanation of each sound category. Tones In the XV-88, the Tone is the smallest class of sound.
21 Chapter 1. Overview of the XV-88 Chapter 1 Rhythm Sets A Rhythm Set is a grouping of percussion instruments (Rhythm Tones). Since percussion instruments generally do not play melodies, there is no need for a percussion instrument sound to be able to play a scale on the keyboard.
22 Chapter 1. Overview of the XV-88 Setting the MIDI Connection (Zone and Part) Although the XV-88 ’ s keyboard controller section and sound generator section are connected internally using a MIDI c.
23 Chapter 1. Overview of the XV-88 Chapter 1 Number of Voices The XV-88 is able to play up to 128 notes simultaneously. The following paragraphs discuss what this means, and what will happen when more than 128 simultaneous voices are requested from the XV-88.
24 Chapter 1. Overview of the XV-88 Basic Operations on the XV-88 Switching Modes The XV-88 contains a large number of functions. In order to organize these functions for easy access, they are grouped into the following modes.
25 Chapter 1. Overview of the XV-88 Chapter 1 About the Function Buttons Function buttons are buttons that perform a variety of functions. The function they perform will depend on the current mode, and on whether [EDIT] is on (lit) or off (extinguished).
26 Chapter 1. Overview of the XV-88 When [EDIT] Indicator is Lit Each mode contains a large number of settable items, and these items are organized into groups. When [EDIT] indicator is lit, the function buttons are used to select page groups. The displays that appear will depend on the current mode.
27 Chapter 1. Overview of the XV-88 Chapter 1 Modifying a Value To modify a value, use the VALUE dial, [INC/+]/[DEC/-] or [0] – [9] (numeric keys). fig.01-16 Each parameter has a specific range, so you cannot set any value smaller than the minimum value or greater than the maximum value.
28 Chapter 1. Overview of the XV-88 Assigning a Name The XV-88 lets you assign names to Patches, Performances, and Rhythm Sets. The procedure is the same for any type of data. To assign a name, use / to move the cursor to the location where you wish to input a character.
29 Chapter 2 Chapter 2. Playing Playing in Patch Mode The sounds used for an ordinary performance are called Patches . Select a Patch before playing. Selecting a Patch The XV-88 has eight Patch groups, including the User group and Preset Groups A – F and H, with each group storing 128 Patches (256 in Preset H), for a total of 1,152 Patches.
30 Chapter 2. Playing 3. Select the Patch number. Rotate the VALUE dial or press [INC/+]/[DEC/-] to select a Patch. You can also select the Patch number by using the numeric keys. In this case, after specifying the number using the numeric keys, press [ENTER].
31 Chapter 2. Playing Chapter 2 The following categories can be selected. Category Group Category Contents --- NO ASSIGN No assign Piano PNO AC.PIANO Acoustic Piano EP EL.PIANO Electric Piano Keys&Organ KEY KEYBOARDS Other Keyboards (Clav, Harpsichord etc.
32 Chapter 2. Playing Using Phrase Preview to Play Patches The XV-88 allows you to preview Patches by hearing a phrase appropriate for each type of Patch. 1. Select a Patch (p. 29). 2. Press and hold [PHRASE PREVIEW]. • In Performance mode, only the Patches of the currently selected Part (current Part) will sound.
33 Chapter 2. Playing Chapter 2 Playing Single Notes (Solo) Normally, the XV-88 allows you to play chords. Pressing [SOLO] allows performance using single notes. This function is effective when performing a solo using single-note Patches like sax and flute.
34 Chapter 2. Playing Using the Sliders to Modify the Sound in Realtime With the four sliders (Palette Slider) in the PALETTE section, you can create sound variations or volume changes in realtime. The sound character and volume changes created using the sliders can be transmitted to the external MIDI devices (p.
35 Chapter 2. Playing Chapter 2 <Layer Performance> In a Layer Performance, you can select multiple Zones, and play those Zones and their linked Parts simultaneously. Select Layer Performance if you want fat, rich sounds of two or more Patches, or want to play different Patches in a split keyboard ’ s different sections.
36 Chapter 2. Playing Playing Fatter and Richer Sounds by Combining Patches (Layer) In a Layer Performance, the Zones whose Local switches are set to ON along with all linked Parts can be played. Combining the Parts will produce, thicker, fatter sounds.
37 Chapter 2. Playing Chapter 2 3. Confirm that the [EDIT] and [LOCAL/TX] indicators are extinguished, and, press a Function button to select the Zone linked to the Part you want played, lighting the button ’ s indicator.
38 Chapter 2. Playing Muting a Specific Part (Turning Receive Switch On/Off) While you play along with the playback of a song, you can turn on/off any specific Part. This allows you to turn off the melody Part for karaoke applications or for practicing the muted Part.
39 Chapter 2. Playing Chapter 2 Adjusting the Volume Balance Between Parts 1. Make sure the PERFORM PLAY page is displayed. 2. Press [LEVEL] and its indicator lights. 3. Press or to select the Part whose volume you want to change. If you ’ ve selected any of Parts 1-4, sliders [1], [2], [3], and [4] adjust Parts 1, 2, 3, and 4, respectively.
40 Chapter 2. Playing XP-A, B (Wave Expansion Boards installed in EXP-A, B Slots) These are the groups of Rhythm Sets from Wave Expansion Boards (optional SR-JV80 Series) installed in the EXP-A and B slots, and cannot be overwritten.
41 Chapter 2. Playing Chapter 2 Playing Percussion Instruments 1. Press [RHYTHM] to call up the RHYTHM PLAY page. 2. Select a desired Rhythm Set. 3. Press a key on the keyboard to play a percussion instrument. The key (Note name) you press and its percussion instrument name (Rhythm Tone name) will be displayed below the Rhythm Set name.
42 Chapter 2. Playing There are 45 arpeggio styles available. For selection, refer to the following guideline. Playing an Arpeggio According to the Timing Interval of a Note 1/4 – 1/32 Playing a Gli.
43 Chapter 2. Playing Chapter 2 Playing an Arpeggio Over a Preset Keyboard Area As soon as you press [ARPEGGIO] to turn the Arpeggiator on, the keyboard will be set to play arpeggios so conventional keyboard playing is no longer possible.
44 Chapter 2. Playing Simulating a Rhythm Guitar You can simulate a rhythm guitar by following the procedure below. By using the Palette Slider, it is also possible to apply a wah effect as you play. 1. Select a guitar Patch. 2. Press [ARPEGGIO] to turn the Arpeggiator on.
45 Chapter 2. Playing Chapter 2 4. Press , move the cursor to “ Motif, ” and specify the order in which the notes of the chord will be sounded. The available choices depend on the Style parameter setting. For details, refer to “ Arpeggio Style List ” (p.
46 Chapter 2. Playing 4. When changing the sound generator to be controlled with the D Beam Controller, hold down [ON] to display the D BEAM CONTROL page, move the cursor to “ Output, ” then make the setting.
47 Chapter 2. Playing Chapter 2 Convenient Functions for Performance Transposing the Keyboard in Octave Units (Octave Shift) The Octave Shift function transposes the pitch of the keyboard in 1 octave units (-3 – +3 octaves). For playing a bass part more easily using your right hand, transpose the keyboard down by 1 or 2 octaves.
48 Chapter 2. Playing Transposing the Keyboard in Semitone Steps (Transpose) Transpose changes keyboard pitch in units of semitones (-5 – +6 semitones). This function is useful when you play transposed instruments such as trumpet or clarinet following a printed score.
49 Chapter 3 Chapter 3. Creating Performances With the XV-88, you have total control over a wide variety of settings. Each item that can be set is known as a parameter . When you change the values of parameters, you are doing what is referred to as Editing .
50 Chapter 3. Creating Performances 10. When you finish making settings, press [EXIT] or [PERFORM] to return to the PERFORM PLAY page. An asterisk * appears at the left of the Performance group on the display. This shows Performance settings have been modified.
51 Chapter 3. Creating Performances Chapter 3 Functions of Performance Parameters This section explains the functions the different Performance parameters have, as well as the composition of these parameters.
52 Chapter 3. Creating Performances Setting Effects for a Performance (EFFECTS) For details regarding effect settings, refer to the pages shown below. • “ Applying Effects in Performance Mode ” (p. 111) • “ Making Multi-Effects Settings ” (p.
53 Chapter 3. Creating Performances Chapter 3 VELO CRV (Velocity Curve) fig.03-12 Velocity Curve Velocity Curve selects for each MIDI channel one of the four following Velocity Curve types that best matches the touch of the connected MIDI keyboard. Set this to OFF if you are using the MIDI keyboard ’ s own velocity curve.
54 Chapter 3. Creating Performances MODIFY fig.03-16 Cut (Part Cutoff Frequency Offset) Adjusts the cutoff frequency for the Patch or Rhythm Set assigned to a Part.
55 Chapter 3. Creating Performances Chapter 3 Coarse (Part Coarse Tune) Adjusts the pitch of the Part ’ s sound up or down in semitone steps (+/-4 octaves). Fine (Part Fine Tune) Adjusts the pitch of the Part ’ s sound up or down in 1-cent steps (+/-50 cents).
56 Chapter 3. Creating Performances Confirming MIDI Information for Each Part (INFO) INFO (Part Information) fig.03-19 fig.03-20 The displays allow you to check various settings such as MIDI message reception status for each Part.
57 Chapter 4 Chapter 4. Zone Settings Pressing [ZONE] while in Performance mode switches you to Zone mode . In Zone mode, you can make settings affecting the way the sound module plays sounds in response to Performances played on the keyboard, the way MIDI messages are sent, the Arpeggiator and D Beam functions, and more.
58 Chapter 4. Zone Settings Making Settings While Comparing Zones (Palette Edit) When modifying Zone settings for a Performance, the values for eight Zones (Zone 1 – 8 or Zone 9 – 16) will be displayed together on a single display. This is called the Palette page .
59 Chapter 4. Zone Settings Chapter 4 SINGLE : When the keys are pressed, the single specified Part (current Part) are played. Zone settings are ignored. Transmission of MIDI messages from the keyboard controller section to external MIDI devices will be determined by the Receive switch (Rx Sw parameter) setting for the current Part fig.
60 Chapter 4. Zone Settings You can also set the transmit switch settings on the PERFORM PLAY page. When the [EDIT] indicator is extinguished and the [LOCAL/TX] indicator is lit, press ZONE/PART SELECT [1/9] – [8/16] to make settings. A Layer Performance is on when the indicator is lit, and off when the indicator is extinguished.
61 Chapter 4. Zone Settings Chapter 4 Arpeggiator Settings (ARPEGGIO) This is where the settings used in performing arpeggios in Performance mode are made. When arpeggios are performed in Patch/Rhythm Set/ GM mode, the arpeggio settings are made in System mode (p.
62 Chapter 4. Zone Settings Motif Sets the order in which notes of the chord will sound. Some settings will not be available depending on the Style parameter setting. For details on the possible values, refer to “ Arpeggio Style List ” (p. 268). SINGLE UP : Notes you press will be sounded individually, beginning from low to high.
63 Chapter 4. Zone Settings Chapter 4 Key Velocity Specifies the loudness of the notes that you play. If you want the velocity value to change according to how strongly you played each note, set this to REAL.
64 Chapter 4. Zone Settings D BEAM RANGE fig.04-17 Lower (D Beam Range Lower) Specifies the lower limit of the range of the D Beam controller. Values below this setting will not be output. Upper (D Beam Range Upper) Specifies the upper limit of the range of the D Beam controller.
65 Chapter 5 Chapter 5. Creating Patches With the XV-88, you have total control over a wide variety of settings. Each item that can be set is known as a parameter . When you change the values of parameters, you are doing what is referred to as Editing .
66 Chapter 5. Creating Patches How to Make the Patch Settings Start with an existing Patch and edit it to create a new Patch. Each Patch can contain up to four Tones. you should listen to how the individual Tones sound before you edit. 1. Press [PATCH] to access the PATCH PLAY page, and select the Patch whose settings you wish to modify (p.
67 Chapter 5. Creating Patches Chapter 5 If you ’ ve made a mistake in setting a parameter value, or you have second thoughts about the changes, press [UNDO/COMPARE] to restore the value to what it was. 8. If you wish to move to another display group, press [EDIT] to make the indicator light, and use the function buttons.
68 Chapter 5. Creating Patches Copying the Settings of Another Tone (Tone Copy) Tone settings from any desired Patch can be copied to any desired Tone of the currently selected Patch. This function can help you save time. 1. Make sure that a Patch is selected.
69 Chapter 5. Creating Patches Chapter 5 Cautions When Using a One-shot Waveform It is not possible to use the envelope to modify a one-shot waveform to create a decay that is longer than the original waveform, or to turn it into a sustaining sound.
70 Chapter 5. Creating Patches PATCH LVL&PAN (Patch level & Pan) fig.05-09 Level (Patch Level) Specifies the volume of the Patch. You can specify the level of each Tone in a Patch using the Level parameter (PATCH/TVA/TVA) (p. 90). Pan (Patch Pan) Specifies the pan of the Patch.
71 Chapter 5. Creating Patches Chapter 5 OUTPUT A : Output to the OUTPUT A (MIX) jacks in stereo without passing through Multi-effects. OUTPUT B : Output to the OUTPUT B (MIX) jacks in stereo without passing through Multi-effects. INDIV 1 : Output to the INDIVIDUAL 1 jack in mono without passing through Multi-effects.
72 Chapter 5. Creating Patches Rel (Release Time Offset) Release Time Offset alters the release time of the overall Patch, while preserving the relative differences between the release time values set for each Tone in the T4 parameters (PATCH/TVA/TVA ENVELOPE) (p.
73 Chapter 5. Creating Patches Chapter 5 L.Fade (Velocity Fade Width Lower) U.Fade (Velocity Fade Width Upper) L.Fade and U.Fade set the range within which the volume gradually fades as the velocity approaches the limits of the Velocity Range as set by the Lower and Upper parameters.
74 Chapter 5. Creating Patches fig.05-23 This type applies a booster to distort the waveform, and then combines the two filters. The TVA for Tone 1 (or 3) controls the volume balance between the two Tones and adjusts booster level. fig.05-24 This type uses a ring modulator to create new overtones, and combines the two filters.
75 Chapter 5. Creating Patches Chapter 5 Booster (Booster Gain) When a Structure Type of TYPE 3 or TYPE 4 is selected, you can adjust the depth of the booster. The booster increases the input signal in order to distort the sound. This creates the distortion effect frequently used with electric guitars.
76 Chapter 5. Creating Patches Using Controllers to Change How Sounds Are Played (CONTROL) The parameters in this group determine how various controllers will affect the Patch and its Tones. PATCH KEY MODE (Patch Key Assign Mode) fig.05-33 Assign (Key Assign) Specifies whether the Patch will play polyphonically (POLY) or monophonically (MONO).
77 Chapter 5. Creating Patches Chapter 5 Start (Portamento Start Pitch) Portamento will begin anew if you press another key during a pitch movement. This setting specifies the pitch at which the change will begin.
78 Chapter 5. Creating Patches Redamper (Redamper Switch) When a Hold 1 message is received after a key was released but before the sound has completely decayed, this setting specifies whether or not the sound will be sustained at that level. If you want to sustain the sound, set this ON.
79 Chapter 5. Creating Patches Chapter 5 • Velocity (VELOCITY): Pressure you press a key with • Keyfollow (KEYFOLLOW): Keyboard position with C4 as 0 • Tempo (TEMPO): The specified tempo (Patch .
80 Chapter 5. Creating Patches ● Changing How the Effects Are Applied DRY LEVEL : Changes the volume of dry sounds. CHORUS SEND : Changes the amount of Chorus. REVERB SEND : Changes the amount of Reverb. ● Applying LFO to Modulate Sounds LFO1/LFO2 PCH DEPTH : Changes the vibrato depth.
81 Chapter 5. Creating Patches Chapter 5 Modifying Waveforms (WAVE) Select the PCM waveform that is to be the basis of the Tone, and apply effects to the waveform. WAVE fig.05-42 fig.05-43 Group (Wave Group) Selects the group for the waveform that is to be the basis of the Tone.
82 Chapter 5. Creating Patches TONE DELAY fig.05-45 This produces a time delay between the moment a key is pressed (or released), and the moment the Tone actually begins to sound. You can also make settings that shift the timing at which each Tone is sounded.
83 Chapter 5. Creating Patches Chapter 5 Time (Tone Delay Time) Specifies the time from when the key is pressed (or if the Mode parameter is set to KEY-OFF-NORMAL or KEY-OFF- DECAY, the time from when the key is released) until when the Tone will sound.
84 Chapter 5. Creating Patches LFO1/LFO2 FADE fig.05-52 Fade Mode (LFO Fade Mode) Specifies how the LFO will be applied. After referring to “ How to Apply the LFO ” (p. 84), change the setting until the desired effect is achieved. Fade Time (LFO Fade Time) Specifies the time over which the LFO amplitude will reach the maximum (minimum).
85 Chapter 5. Creating Patches Chapter 5 ● LFO is immediately added after the key is pressed, after which the effect gradually fades. fig.05-56.e Fade Mode : ON-OUT Fade Time : The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed.
86 Chapter 5. Creating Patches Modifying Pitch (PITCH) You can set the WG pitch of each Tone. PITCH fig.05-60 Coarse (Coarse Tune) ★ Adjusts the pitch of the Tone ’ s sound up or down in semitone steps (+/-4 octaves). The overall coarse tune of the Patch is set by the Coarse parameter (PATCH/COMMON/PATCH OCT&TUNE) (p.
87 Chapter 5. Creating Patches Chapter 5 Time Keyfollow (Pitch Envelope Time Keyfollow) Use this parameter when you want the keyboard location of notes to affect times T2 – T4 of the pitch envelope.
88 Chapter 5. Creating Patches LPF2 : Low Pass Filter 2. Although frequency components above the Cutoff frequency (Cutoff parameter) are cut, the sensitivity of this filter is half that of the LPF. This makes it a comparatively warmer low pass filter.
89 Chapter 5. Creating Patches Chapter 5 TVF VELOCITY fig.05-69 V-Cutoff (Cutoff Frequency Velocity Sensitivity) Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity. If you want strongly played notes to raise the cutoff frequency, set this parameter to positive (+) settings.
90 Chapter 5. Creating Patches V-T4 (TVF Envelope Time 4 Velocity Sensitivity) The parameter to use when you want key release speed to control the T4 (Time 4) value of the TVF envelope. If you want T4 time to be speeded up for quickly released notes, set this parameter to a positive (+) value.
91 Chapter 5. Creating Patches Chapter 5 V-Curve (TVA Envelope Velocity Curve) Selects one of the following seven curves to specify how keyboard dynamics will affect the TVA envelope. Set this to FIXED when the amount of TVA Envelope applied is not to be changed according to the force with which the keys are pressed.
92 Chapter 5. Creating Patches TVA TIME ENV (TVA Time Envelope) fig.05-80 Here you can make settings for the TVA envelope (time- variant changes in volume). V-T1 (TVA Envelope Time 1 Velocity Sensitivity) Use this parameter when you want keyboard playing (velocity) to affect T1 (Time 1) of the TVA envelope.
93 Chapter 6 Chapter 6. Creating Rhythm Sets With the XV-88, you have total control over a wide variety of settings. Each item that can be set is known as a parameter . When you change the values of parameters, you are doing what is referred to as Editing .
94 Chapter 6. Creating Rhythm Sets 6. Use or to move the cursor to the parameter you wish to modify. 7. Use the VALUE dial, [INC/+]/[DEC/-], or the numeric keys to modify the parameter value.
95 Chapter 6. Creating Rhythm Sets Chapter 6 2. Press [UTILITY], getting its indicator to start blinking. 3. Press the numeric key [2], then or to call up the RHYTHM KEY COPY page. fig.10-17.e 4. Press the cursor buttons to move the cursor to the parameter you want to set.
96 Chapter 6. Creating Rhythm Sets Functions of Rhythm Set Parameters This section explains the functions the different Rhythm Set parameters have, as well as the composition of these parameters. fig.06-01 Settings Common to the Entire Rhythm Set (COMMON) You can assign a name to a Rhythm Set and set the volume of the entire Rhythm Set.
97 Chapter 6. Creating Rhythm Sets Chapter 6 Setting Effects for a Rhythm Set (EFFECTS) For details regarding effect settings, refer to the pages shown below. • “ Applying Effects in Patch Mode or Rhythm Set Mode ” (p. 106) • “ Making Multi-Effects Settings ” (p.
98 Chapter 6. Creating Rhythm Sets If NO SUSTAIN is selected for Envelope Mode parameter (RHYTHM/CONTROL/CONTROL), this setting will have no effect. Modifying Waveform of a Rhythm Tone (WAVE) This set.
99 Chapter 6. Creating Rhythm Sets Chapter 6 WMT VEL RANG (WMT Velocity Range) fig.06-14 Specifies the range of playing dynamics (key velocity) which will sound the waveform. Make these settings when you want different waveforms to sound in response to notes played at different strengths.
100 Chapter 6. Creating Rhythm Sets WMT TUNE (WMT Tune) fig.06-17 Coarse (Coarse Tune) Adjusts the pitch of the waveform ’ s sound up or down in semitone steps (+/-4 octaves). The Coarse Tune of the entire Rhythm Tone is set by the Coarse parameter (RHYTHM/PITCH/PITCH) (p.
101 Chapter 6. Creating Rhythm Sets Chapter 6 V-Sens (Pitch Envelope Velocity Sensitivity) Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more effect for strongly played notes, set this parameter to a positive (+) value.
102 Chapter 6. Creating Rhythm Sets Cutoff (Cutoff Frequency) Selects the frequency at which the filter begins to have an effect on the waveform ’ s frequency components. With LPF/LPF2/LPF3 selected for the Type parameter, lower cutoff frequency settings reduce a Tone ’ s upper harmonics for a more rounded, warmer sound.
103 Chapter 6. Creating Rhythm Sets Chapter 6 V-T1 (TVF Envelope Time 1 Velocity Sensitivity) Use this parameter when you want velocity to affect T1 (Time 1) of the TVF envelope. If you want T1 time to be speeded up for strongly played notes, set this parameter to a positive (+) value.
104 Chapter 6. Creating Rhythm Sets TVA VELOCITY fig.06-27 Velocity Sens (TVA Envelope Velocity Sensitivity) Specifies how keyboard playing dynamics will affect the depth of the TVA envelope.
105 Chapter 7 Chapter 7. Adding Effects This chapter explains how effects are applied in Patch/ Rhythm Set mode or Performance mode. For information about the application of effects in GM mode, refer to “ Making Effects Settings in GM Mode (EFFECTS) ” (p.
106 Chapter 7. Adding Effects Applying Effects in Patch Mode or Rhythm Set Mode Only one Multi-effect, Chorus, or Reverb effect can be set for each Patch or Rhythm Set. You cannot apply differing types of Multi-effects, Chorus, or Reverb to each of the Tones or Rhythm Tones comprising the Patch or Rhythm Set.
107 Chapter 7. Adding Effects Chapter 7 Audio Signal Flow The audio path of direct sounds or sounds that have been passed through the effects in Patch/Rhythm Set mode is shown in the figure below. fig.07-03.e MFX A/1/2 B/3/4 Chorus MAIN M+R REV AB AB Multi- Effects Reverb AB TONE MFX A/1/2 B/3/4 Output Assign (p.
108 Chapter 7. Adding Effects Selecting the Way the Direct Sound is Output Here, set the way the direct sound is output for each Patch or Rhythm Set. The settings made here determine whether or not the signal passes through the Multi-effects, the jack used to output the sound, and the type of output (stereo or mono).
109 Chapter 7. Adding Effects Chapter 7 • The output destination of the signal after passing through the chorus is set with Output Assign parameter or Select parameter (PATCH/EFFECTS/PATCH CHO OUT)/(RHYTHM/EFFECTS/RHYTHM CHO OUT) (p.
110 Chapter 7. Adding Effects INDIV 3 : Output to the INDIVIDUAL 3 jack in mono without passing through Multi-effects. INDIV 4 : Output to the INDIVIDUAL 4 jack in mono without passing through Multi-effects. The value on the right sets the volume of the Tone or Rhythm Tone.
111 Chapter 7. Adding Effects Chapter 7 Applying Effects in Performance Mode Only one Multi-effect, Chorus, or Reverb effect can be set for each Performance. You cannot apply differing types of Multi- effects, Chorus, or Reverb to each of the Parts comprising the Performance.
112 Chapter 7. Adding Effects Audio Signal Flow The audio path of direct sounds or sounds that have been passed through the effects in Performance mode is shown in the figure below. fig.07-05.e MFX A/1/2 B/3/4 Chorus MAIN M+R REV AB AB Multi- Effects Reverb AB Output Assign (p.
113 Chapter 7. Adding Effects Chapter 7 Selecting the Way the Direct Sound is Output Here, set the way the direct sound is output and the amount of each effect to be applied. The settings made here determine whether or not the signal passes through the Multi-effects, the jack used to output the sound, and the type of output (stereo or mono).
114 Chapter 7. Adding Effects 5. Either rotate the VALUE dial or press [INC/+]/[DEC/-] to set the value. 6. Press [EXIT] to return to the PERFORM PLAY page. An asterisk * appears at the left of the Performance group on the display. This shows Performance settings have been modified.
115 Chapter 7. Adding Effects Chapter 7 MFX PRM (MFX Parameter) fig.07-09 MFX Parameter sets the parameters for the Multi-effects selected by the Multi-effects type. For more detailed information on the parameters that can be set in each Multi- effect, please refer to “ Multi-Effects Types ” (p.
116 Chapter 7. Adding Effects Source (Multi-Effects Control Source) Sets the MIDI message used to change the Multi-effects parameter with the Multi-effects Controller. Set this to OFF when the Multi-effects Controller is not being used. The following are MIDI messages that can be used as Multi- effects Controllers.
117 Chapter 7. Adding Effects Chapter 7 Multi-Effects Types Multi-Effects provides 63 types of effect. This section explains the features of each Multi-effects, and the functions of the parameters. Parameters marked with a # can be controlled using specified MIDI messages (Multi-effects Controller).
118 Chapter 7. Adding Effects Selecting Multi-Effects by Category Pressing [PATCH FINDER] in the MFX TYPE page switches the display to the following page, where each Multi-effect type is displayed in order, by category (effect sound). This allows you to quickly select the Multi-effects you wish to use.
119 Chapter 7. Adding Effects Chapter 7 01: STEREO EQ (Stereo Equalizer) This is a four-band stereo equalizer (low, mid x 2, high). fig.MFX-01 LowFreq (Low Frequency) Select the frequency of the low range (200 Hz/400 Hz). LowGain (Low Gain) Adjust the gain of the low frequency.
120 Chapter 7. Adding Effects 03: DISTORTION This effect produces a more intense distortion than Overdrive. fig.MFX-03 Drive # Adjust the degree of distortion. The volume will change together with the degree of distortion. Level (Output Level) Adjust the output level.
121 Chapter 7. Adding Effects Chapter 7 05: SPECTRUM Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies. It is similar to an equalizer, but has 8 frequency points fixed at locations most suitable for adding character to the sound.
122 Chapter 7. Adding Effects 07: AUTO WAH The Auto Wah cyclically controls a filter to create cyclic change in timbre. fig.MFX-07 Filter (Filter Type) Select the type of filter. LPF : The wah effect will be applied over a wide frequency range. BPF : The wah effect will be applied over a narrow frequency range.
123 Chapter 7. Adding Effects Chapter 7 Level (Output Level) # Adjust the output level. 09: COMPRESSOR The Compressor flattens out high levels and boosts low levels, smoothing out unevenness in volume. fig.MFX-09 Attack Adjust the attack time of an input sound.
124 Chapter 7. Adding Effects 11: HEXA-CHORUS Hexa-chorus uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound. fig.MFX-11 Pre Dly (Pre Delay Time) Adjust the time delay from when the direct sound begins until the chorus sound is heard.
125 Chapter 7. Adding Effects Chapter 7 13: SPACE-D Space-D is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus effect. fig.MFX-13 Pre Dly (Pre Delay Time) Adjust the time delay from when the direct sound begins until the processed sound is heard.
126 Chapter 7. Adding Effects 15: STEREO FLANGER This is a stereo flanger. (The LFO has the same phase for left and right.) It produces a metallic resonance that rises and falls like a jet airplane taking off or landing. A filter is provided so that you can adjust the timbre of the flanged sound.
127 Chapter 7. Adding Effects Chapter 7 LowGain (Low Gain) Adjust the gain of the low frequency range. Hi Gain (High Gain) Adjust the gain of the high frequency range. Balance (Effect Balance) Adjust the volume balance between the direct sound and the flanger sound.
128 Chapter 7. Adding Effects 18: MODULATION DELAY This effect adds modulation to the delayed sound, producing an effect similar to a flanger. When Feedback Mode is NORMAL: fig.MFX-18a When Feedback Mode is CROSS: fig.MFX-18b Delay L (Delay Time Left) Adjust the time from the direct sound until when the left delay sound is heard.
129 Chapter 7. Adding Effects Chapter 7 19: TRIPLE TAP DELAY The Triple Tap Delay produces three delay sounds; center, left and right. fig.MFX-19 Delay C (Delay Time Center) Adjust the time delay from the direct sound until when the center delay sound is heard.
130 Chapter 7. Adding Effects 20: QUADRUPLE TAP DELAY The Quadruple Tap Delay has four delays. fig.MFX-20a The stereo location of each delay sound is as follows. fig.MFX-20b Delay 1 (Delay Time 1) Adjust the time delay from the direct sound until when delay 1 sound is heard.
131 Chapter 7. Adding Effects Chapter 7 21: TIME CONTROL DELAY This effect allows you to use a specified controller (the controller selected in Multi-effects Control Source) to control the delay time and pitch in realtime (Multi-effects Controller p. 115).
132 Chapter 7. Adding Effects Lvl Bal (Level Balance) Adjust the volume balance between the Pitch Shift A and Pitch Shift B sounds. Balance (Effect Balance) Adjust the volume balance between the direct sound and the pitch shift sound.
133 Chapter 7. Adding Effects Chapter 7 24: REVERB The Reverb effect adds reverberation to the sound, simulating an acoustic space. fig.MFX-24 Type (Reverb Type) Select the type of Reverb effect.
134 Chapter 7. Adding Effects 26: OVERDRIVE → CHORUS This effect connects an overdrive and a chorus in series. fig.MFX-26 OD Drive Adjust the degree of overdrive distortion. The volume will change together with the degree of distortion. OD Pan (Overdrive Pan) # Adjust the stereo location of the overdrive sound.
135 Chapter 7. Adding Effects Chapter 7 28: OVERDRIVE → DELAY This effect connects an overdrive and a delay in series. fig.MFX-28 OD Drive Adjust the degree of overdrive distortion. The volume will change together with the degree of distortion. OD Pan (Overdrive Pan) # Adjust the stereo location of the overdrive sound.
136 Chapter 7. Adding Effects 32: ENHANCER → CHORUS This effect connects an enhancer and a chorus in series. fig.MFX-32 Enhancer Sens (Enhancer Sensitivity) # Adjust the sensitivity of the enhancer. Enhancer Mix (Enhancer Mix Level) Adjust the ratio with which the overtones generated by the enhancer are combined with the direct sound.
137 Chapter 7. Adding Effects Chapter 7 34: ENHANCER → DELAY This effect connects an enhancer and a delay in series. fig.MFX-34 Enhancer Sens (Enhancer Sensitivity) # Adjust the sensitivity of the enhancer. Enhancer Mix (Enhancer Mix Level) Adjust the ratio with which the overtones generated by the enhancer are combined with the direct sound.
138 Chapter 7. Adding Effects 36: FLANGER → DELAY This effect connects a flanger and a delay in series. fig.MFX-36 Flg Dly (Flanger Pre Delay Time) Adjust the time delay from when the direct sound begins until the flanger sound is heard. FlgRate (Flanger Rate) Adjust the modulation speed of the flanger effect.
139 Chapter 7. Adding Effects Chapter 7 38: CHORUS/DELAY This effect connects a chorus and a delay in parallel. The parameters are the same as for “ 35: CHORUS → DELAY. ” However, the Delay Balance parameter adjusts the volume balance between the direct sound and the delay sound.
140 Chapter 7. Adding Effects X-Fbk (Cross Feedback Level) Adjust the proportion (%) of the phaser sound that is to be returned to the input. Positive (+) settings will return the signal to the input with the original phase, while negative (-) settings produce an inverted phase.
141 Chapter 7. Adding Effects Chapter 7 Cutoff (Cutoff Frequency) Sets the cutoff frequency when a specific frequency band is cut off by a filter. Step Rate (Step Rate Switch/Step Rate #) Adjust the frequency of pitch change. This setting determines whether the pitch is changed in a stepped fashion (ON) or not (OFF).
142 Chapter 7. Adding Effects LowGain (Low Gain) Specifies the low frequency gain (amount of boost or cut). Positive (+) settings will emphasize (boost) the low frequency range. Hi Gain (High Gain) Specifies the high frequency gain (amount of boost or cut).
143 Chapter 7. Adding Effects Chapter 7 45: MULTI TAP DELAY The Multi Tap Delay has four delays. Each of the Delay Time parameters can be specified as a note length of the selected tempo. You can also set the panning and level of each delay sound. fig.
144 Chapter 7. Adding Effects 46: REVERSE DELAY Reverse Delay is a delay effect that adds the reverse of the input sound as the delay sound. fig.MFX-46 Delay 1 (Delay Time 1) Adjust the delay time from the direct sound until the delay 1 sound is heard.
145 Chapter 7. Adding Effects Chapter 7 47: SHUFFLE DELAY Shuffle Delay adds a shuffle to the delay sound, giving the sound a bouncy delay effect with a swing feel. fig.MFX-47 Delay (Delay Time) # Adjust the delay time from the direct sound until the delay sound is heard.
146 Chapter 7. Adding Effects 48: 3D DELAY This applies a 3D effect to the delay sound. The delay sound will be positioned 90 degrees left and 90 degrees right. fig.MFX-48 Delay C (Delay Time Center) Adjust the delay time from the direct sound until the center delay sound is heard.
147 Chapter 7. Adding Effects Chapter 7 49: PITCH SHIFTER A Pitch Shifter shifts the pitch of the direct sound. This 3- voice pitch shifter has three pitch shifters, and can add three pitch shifted sounds to the direct sound. fig.MFX-49 Coarse 1:2:3 (Coarse Pitch 1:2:3) Specify the pitch in semitones for pitch shift 1 – 3.
148 Chapter 7. Adding Effects 51: LOFI NOISE In addition to a Lo-Fi effect, this effect also generates various types of noise, such as radio noise and disc noise. fig.MFX-51 Type (LoFi Type) Lowers the audio quality. The audio quality will worsen as this setting is increased.
149 Chapter 7. Adding Effects Chapter 7 Level (Output Level) # Adjust the output level. 53: OVERDRIVE 2 This is an overdrive that provides heavy distortion. fig.MFX-53 Drive # Adjust the amount of distortion. The volume will change together with the degree of distortion.
150 Chapter 7. Adding Effects 55: STEREO COMPRESSOR fig.MFX-55 Sustain Adjust the time over which low level sounds are boosted until they reach the specified volume. Attack (Attack Time) Adjust the attack time of an input sound. Post Gain Adjust the output gain.
151 Chapter 7. Adding Effects Chapter 7 57: GATE The Gate effect cuts the reverb ’ s delay according to the volume of the sound input to the effects device. Use this in situations such as when you want to force a decrease in the decay sound. fig.MFX-57 Key Selects the input of the sound that acts as the trigger closing the gate.
152 Chapter 7. Adding Effects Mode Sets the manner in which the volume changes as one beat progresses to the next. LEGATO : The change in volume from one beat ’ s level to the next remains unaltered. If the level of a following beat is the same as the one preceding it, then there is no change in volume.
153 Chapter 7. Adding Effects Chapter 7 Filter Type OFF : A filter will not be used. LPF : The frequency region above the Cutoff Freq setting will be cut. HPF : The frequency region below the Cutoff Freq setting will be cut. Cutoff (Cutoff Frequency) Sets the cutoff frequency when a specific frequency band is cut off by a filter.
154 Chapter 7. Adding Effects Step Rate (Step Rate Switch/Step Rate #) Determines whether the pitch is changed in a stepped fashion (ON) or not (OFF). And adjust the rate at which the pitch will change. Step Rate parameter can be set as a note-value of a specified tempo.
155 Chapter 7. Adding Effects Chapter 7 63: AUTO PAN The Auto Pan effect cyclically modulates the stereo location of the sound. fig.MFX-63 Mod Wave (Modulation Wave) TRI : The sound will be modulated like a triangle wave. SQR : The sound will be modulated like a square wave.
156 Chapter 7. Adding Effects Making Chorus Settings You can make the settings for Chorus used by Patches/ Rhythm Sets/Performances. Setting Procedure 1. After confirming that you are in Patch/Rhythm Set/ Performance mode, select the desired Patch/Rhythm Set/Performance (p.
157 Chapter 7. Adding Effects Chapter 7 CHO PRM (CHO Parameter) fig.07-14 Sets the parameter for the Chorus selected by the Chorus type. The parameters that can be set differ according to whether chorus or delay is used. When the Type parameter in the CHO TYPE page is set to 00:OFF, the CHO PRM page will not be displayed.
158 Chapter 7. Adding Effects CHO OUT (Chorus Output) fig.07-15 Output Assign (Chorus Output Assign) Selects the pair of OUTPUT jacks to which the Chorus sound is routed when Chorus Output Select is set to MAIN or MAIN+REV. A : Output to the OUTPUT A (MIX) jacks in stereo.
159 Chapter 7. Adding Effects Chapter 7 Functions of Parameters The functions of Reverb parameters are explained according to the display arrangement. REV TYPE fig.07-16 Type (Reverb Type) Selects the type of Reverb. OFF : Reverb is not used. REVERB : Normal Reverb SRV ROOM : This reverb simulates typical room acoustic reflections.
160 Chapter 7. Adding Effects ● For Type: SRV ROOM/SRV HALL/SRV PLATE Pre Delay (Pre Delay Time) This specifies the time between when the direct sound is heard and the moment at which the reverb is first heard. Time (Reverb Time) This sets the reverb length.
161 Chapter 7. Adding Effects Chapter 7 Copying Another Effect Setting (Effects Copy) This function lets you copy data of any Performance, Patch, or Rhythm Set into the currently selected Performance, Patch, or Rhythm Set. This function can help you save time.
162 Chapter 8. Saving Sounds Modifications you make to a sound are temporary, and will be lost when the power is turned off, or when another Performance, Patch or Rhythm Set is selected. If you wish to keep the modified Tones, perform the Save operation.
163 Chapter 8. Saving Sounds Chapter 8 Temporary Memory Temporary Area This area holds data for the Performance, Patch, and Rhythm Set you select using the front panel buttons. When you play the keyboard or play back an external sequence, sound is produced based on data in the temporary area.
164 Chapter 8. Saving Sounds Saving to Internal Memory This function writes sound settings you ’ ve modified into internal USER group (user memory). When you perform the save procedure, the data that previously occupied the save destination will be lost.
165 Chapter 8. Saving Sounds Chapter 8 2. Press [UNDO/COMPARE]. The PATCH COMPARE page appears, making it possible to sound the save destination Patch. fig.08-03.e 3. Play the keyboard to sound the save destination Patch, then check whether you really want to overwrite it.
166 Chapter 8. Saving Sounds Saving to an External MIDI Device You can save data by transmitting it to an external MIDI device (MIDI sequencer, etc.). Connect the XV-88 and external MIDI device as shown in the diagram. fig.08-07.e 1. Press [UTILITY], getting its indicator to start blinking.
167 Chapter 8. Saving Sounds Chapter 8 Saving a Group of Tones to a Memory Card The Performances, Patches, Rhythm Sets, System and Favorite List settings in internal memory can be saved as a single file onto a memory card. • Data files contain an entire set of parameter settings for the sound generator.
168 Chapter 9. Getting More Familiar with the XV-88 (System Functions) Functions related to the XV-88 ’ s overall operating environment, including the display contrast, tuning, the way MIDI messages are received, and so on, are called System functions .
169 Chapter 9. Getting More Familiar with the XV-88 (System Functions) Chapter 9 System Tempo System Tempo sets the tempo value when the System Tempo Clock is set to the internal clock (INT).
170 Chapter 9. Getting More Familiar with the XV-88 (System Functions) Remote (Remote Keyboard Switch) Set this parameter ON when you want to use an external MIDI keyboard instead of the XV-88 ’ s keyboard. In this case, the MIDI transmit channel of the external MIDI keyboard can be set to any channel.
171 Chapter 9. Getting More Familiar with the XV-88 (System Functions) Chapter 9 TRANSMIT MIDI fig.09-09 Specify how MIDI messages will be transmitted. Program (Transmit Program Change Switch) Specifies whether Program Change messages will be transmitted (ON) or not (OFF).
172 Chapter 9. Getting More Familiar with the XV-88 (System Functions) HOLD PEDAL fig.09-13 Sets the function of the pedal connected to the HOLD PEDAL jack. Continuous (Continuous Switch) This setting determines whether the HOLD PEDAL jack will provide support for half-pedaling (ON), or not (OFF).
173 Chapter 9. Getting More Familiar with the XV-88 (System Functions) Chapter 9 C1–C4 Output (C1–C4 Slider Output) Selects the sound generator(s) (the internal sound generator and/or external sound generators connected to MIDI OUT connector) to be controlled by each slider.
174 Chapter 9. Getting More Familiar with the XV-88 (System Functions) KEY SCALE fig.09-19 If you wish to define a scale for use in Performance mode/ GM mode, press [SYSTEM] while in Performance mode, and then press [TUNE] located in the row of function buttons to access the KEY SCALE page.
175 Chapter 9. Getting More Familiar with the XV-88 (System Functions) Chapter 9 SHAMISEN : The playing style of a Shamisen. BOUND BALL : A style suggestive of a bouncing ball. RANDOM : A style in which the notes sound in random order. BOSSA NOVA : A style with bossanova rhythm guitar.
176 Chapter 9. Getting More Familiar with the XV-88 (System Functions) Beat Pattern Select the beat pattern from the choices below. This setting will affect the location of the accent and length of the notes to determine the beat (rhythm). Some settings will not be available depending on the Style parameter setting.
177 Chapter 9. Getting More Familiar with the XV-88 (System Functions) Chapter 9 Polarity (D Beam Polarity) Switches the polarity of the D Beam controller. With a setting of REVERSE, the direction of control for the D Beam controller will be inverted.
178 Chapter 9. Getting More Familiar with the XV-88 (System Functions) Checking the Installation of the Wave Expansion Board and Controlling External MIDI Devices (INFO) INFO EXP (Information Expansion Board) fig.09-24 The display shows the names of Wave Expansion Boards installed in slots EXP A – D.
179 Chapter 10 Chapter 10. Memory Settings (Utility Mode) The Utility mode allows you to store Performance/Patch/ Rhythm Set settings (Write), and transmit data (Data Transfer), as well as other global XV-88 memory settings. About Utility Mode The XV-88 goes into Utility mode if you press [UTILITY].
180 Chapter 10. Memory Settings (Utility Mode) 3. Use or to select the desired function (the function name will blink), and press [ENTER]. The display for the desired function will appear. • You can also access the desired function page by using the numeric keys or function buttons to specify the number of the function.
181 Chapter 10. Memory Settings (Utility Mode) Chapter 10 Saving a Patch The settings of the current Patch will be written into user memory. Press [UTILITY] in Patch mode, then perform Write operation. fig.10-05.e By holding down [SHIFT] and pressing [UTILITY], you can move directly to the PATCH WRITE page.
182 Chapter 10. Memory Settings (Utility Mode) Copying Sound Generator Settings (COPY) This function lets you copy data of any Performance, Patch, or Rhythm Set into the current Performance, Patch, or Rhythm Set. You can use this feature to make the editing process faster and easier.
183 Chapter 10. Memory Settings (Utility Mode) Chapter 10 Copying a Patch To copy the settings of a Patch, press [UTILITY] in Patch mode, then perform Copy operation. Patch Tone Copy Tone settings of a Patch will be copied to the Tone you specify of the current Patch.
184 Chapter 10. Memory Settings (Utility Mode) Copying a Rhythm Set To copy the Rhythm Set settings, press [UTILITY] in Rhythm Set mode and perform Copy operation. Rhythm Tone Copy Individual Rhythm Tone (percussion sound) settings assigned to each key will be copied to each key in the current Rhythm Set.
185 Chapter 10. Memory Settings (Utility Mode) Chapter 10 Initializing Sound Generator Settings (INIT) This function resets settings of the current Performance, Patch, or Rhythm Set to a standard value or to factory default settings. The Initialize operation affects only the currently selected data; no data stored in the user memory is initialized.
186 Chapter 10. Memory Settings (Utility Mode) You can specify the data to be transmitted by selecting the appropriate combination shown below. For example, if you wish to transmit the USER group Patches 001-020, you would specify “ PATCH USER:001-020.
187 Chapter 10. Memory Settings (Utility Mode) Chapter 10 You can specify the data to be transmitted by selecting the appropriate combination shown below. For example, if you wish to transmit only the PR-A group Patch 001, specify “ PATCH PR-A:001-001.
188 Chapter 10. Memory Settings (Utility Mode) Protecting the Internal Memory (PROTECT) This feature helps prevent the accidental overwriting of user memory to ensure that Performance, Patch or Rhythm Set data is not accidentally erased.
189 Chapter 10. Memory Settings (Utility Mode) Chapter 10 Formatting the Memory Card for the XV-88 (FORMAT) This function initializes (formats) a memory card so that XV- 88 data can be saved to it. Before a new memory card or a memory card used on another device can be used on the XV- 88, it must be formatted on the XV-88.
190 Chapter 10. Memory Settings (Utility Mode) Checking the Contents of a Memory Card (INFO) You can view the number of files on a memory card, its remaining free memory, and the size of each file. In addition, you can also change and delete assignments to the CARD Group Banks A – H.
191 Chapter 10. Memory Settings (Utility Mode) Chapter 10 Recalling Factory Default Settings (FACTORY RESET) You can restore all settings stored in the XV-88 to their factory values ( Factory Reset ).
192 Chapter 11. Using the XV-88 as a GM Sound Module (GM Mode) The XV-88 features a GM mode — a convenient way to play back or create GM score data (music files for General MIDI sound module). You ’ re able to play back commercial GM score data releases and even modify various parameter settings for enhanced musical expression.
193 Chapter 11. Using the XV-88 as a GM Sound Module (GM Mode) Chapter 11 Muting a Specific Part When you switch over to GM mode, all Parts will be set to receive MIDI messages. To turn off a specific Part so that it will not sound, set the Receive Switch to OFF for the Part.
194 Chapter 11. Using the XV-88 as a GM Sound Module (GM Mode) Making Effects Settings in GM Mode (EFFECTS) In GM mode, a GM-exclusive Chorus and Reverb can be used. Chorus and Reverb can be set independently. Chorus : Adds depth and spaciousness to the sound.
195 Chapter 11. Using the XV-88 as a GM Sound Module (GM Mode) Chapter 11 GM CHORUS fig.11-04 Type (Chorus Type) Selects the type of Chorus. CHORUS 1 – 4 : Chorus 1 – 4 FB CHORUS : Feedback Chorus FLANGER : Flanger Rate (Chorus Rate) Specifies the modulation frequency of the Chorus sound.
196 Chapter 11. Using the XV-88 as a GM Sound Module (GM Mode) Rx Sw (Receive Switch) Specifies whether each Part will receive Note messages (ON), or not (OFF). You can also set the Rx Sw parameter on the GM PLAY page. Press ZONE/PART SELECT [1/9] – [8/16] to switch the setting to ON (indicator lighted), or OFF (indicator extinguished).
197 Chapter 11. Using the XV-88 as a GM Sound Module (GM Mode) Chapter 11 CONTROL fig.11-10 BendRng (Bend Range) Specifies the amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend Lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides.
198 Chapter 11. Using the XV-88 as a GM Sound Module (GM Mode) Convenient Functions in GM Mode (GM Utility) In the GM mode, you can initialize GM mode, and transmit GM mode settings, using the Utility functions. Basic Procedure 1. In the GM mode, press [UTILITY] so its indicator blinks.
199 Chapter 12 Chapter 12. Realizing the Potential of the XV-88 This section discusses various techniques for effectively using the XV-88 for specific applications. The more you use the XV-88, the faster you ’ ll appreciate the real power of this unit.
200 Chapter 12. Realizing the Potential of the XV-88 Changing the Speed of the Rotary Effect to Synchronize It to the LFO Cycle Instead of using an effects controller, you can use the Matrix Controller (p. 78) to change Multi-effect parameters. Here, try changing the speed of the rotary effect to synchronize it to the LFO cycle.
201 Chapter 12. Realizing the Potential of the XV-88 Chapter 12 Modifying Multi-Effects to Match the System’s Tempo In the following example, we will synchronize the Step Rate parameter of STEP FLANGER to the system tempo. 1. Select the Patch PR-C: 094 Albion on the PATCH PLAY page.
202 Chapter 12. Realizing the Potential of the XV-88 1. On the PATCH PLAY page, select a Patch that uses a Phrase Loop. 2. Set the Clock Source parameter (PATCH/COMMON/ PATCH TEMPO) to SYSTEM (p. 71). 3. Call up the WAVE page (PATCH/WAVE) (p. 81). 4. Press a TONE SELECT [1] – [4] button, and choose the Tone that uses Phrase Loops.
203 Chapter 12. Realizing the Potential of the XV-88 Chapter 12 6. Set the P.C# parameter to match the Program Change number for the Tone you want the external MIDI device to select.
204 Chapter 12. Realizing the Potential of the XV-88 4. If you wish to play only the external MIDI sound module, set the Local Switch to off. The Local Switch is determined by the following parameters. In Patch/Rhythm Set Mode Local parameter (SYSTEM/MIDI/PATCH MIDI) (p.
205 Chapter 12. Realizing the Potential of the XV-88 Chapter 12 Playing the XV-88’s Sound Generator from an External MIDI Device 1. Set the COMPUTER switch on the XV-88 ’ s rear panel to MIDI . The new setting of the COMPUTER switch will take effect when the power is turned on.
206 Chapter 12. Realizing the Potential of the XV-88 Changing the Multi-Effects Settings From an External MIDI Device in Realtime The Multi-effects settings can be controlled using specified MIDI messages from an external MIDI device in realtime (Multi-effects Controller; p.
207 Chapter 12. Realizing the Potential of the XV-88 Chapter 12 Selecting Patches The MIDI messages transmitted by the external MIDI device will be received by the XV-88 to select Patches as shown in the following table.
208 Chapter 12. Realizing the Potential of the XV-88 Enjoying Desktop Music The XV-88 can be controlled by music software running on a computer. This will allow you to create your own songs, and also to select sounds or edit sounds from the computer display.
209 Chapter 12. Realizing the Potential of the XV-88 Chapter 12 4. Connect the other end of the Computer cable to the COMPUTER connector on the left side of the XV-88.
210 Chapter 12. Realizing the Potential of the XV-88 3. Use a MIDI cable to connect the MIDI OUT connector of the MIDI interface to the MIDI IN connector of the XV-88. 4. Use a MIDI cable to connect the MIDI IN connector of the MIDI interface with the XV-88 ’ s MIDI OUT connector.
211 Chapter 12. Realizing the Potential of the XV-88 Chapter 12 Disconnecting the Keyboard from the Internal Sound Generator (Local OFF) The XV-88 contains a keyboard controller section and sound generating section, packaged as a single unit.
212 Chapter 12. Realizing the Potential of the XV-88 How MIDI Messages Are Exchanged with a Computer Depending on the setting of the COMPUTER switch, MIDI data flow will be different as follows. When the COMPUTER Switch Is Set to Mac or PC fig.12-08.e When the COMPUTER Switch Is Set to MIDI fig.
213 Appendices.
214 Troubleshooting If the this unit does not function in the way you expect, first check the following points. If this does not resolve the problem, consult your dealer or a nearby Roland Service Station. * If a message appears during operation, consult the following section “Error Messages” (p.
215 Troubleshooting Appendices Is the rear panel COMPUTER switch set to the correct position? • If you are using the XV-88 while connected to a computer, make settings as appropriate for the connection method, the type of computer, and the settings of the driver (p.
216 Troubleshooting Sound Is Distorted • Is an effect which distorts the sound being applied? (p. 117) • If the sound is distorted for specific Patches or parts, lower the volume level of those Patches or Parts ( p. 70, p. 53). • If all sounds are distorted, use the VOLUME slider to lower the volume level.
217 Troubleshooting Appendices When Using Sequencing Software, Operating the Sliders or Other Controls Does Not Affect the Sound • For some sequencing programs, System Exclusive messages are not transmitted by the Thru function.
218 Error Messages If there has been a mistake in operation, or if the XV-88 is unable to continue processing as you directed, an error message will appear in the display.
219 Error Messages Appendices fig.err12 Situation: A problem has occurred with the MIDI cable connections. Action: Check that MIDI cables are not broken or pulled out.
220 Quick Reference of Procedures The XV-88 has a large number of functions. This section gives the procedures for using some of the frequently-used functions. For functions that are used simply by setting the applicable parameter, only the “ Parameter name (mode/display group/display) ” is listed.
221 Quick Reference of Procedures Appendices Patch Mode Modifying Zone Settings (basic procedure) 1. Turn on the [ZONE] indicator. 2. Use the function buttons to select the display group. 3. Use / to select the desired setting page. 4. Turn off the [EDIT] indicator.
222 Quick Reference of Procedures Rhythm Set Mode Modifying Patch Settings (basic procedure) 1. Turn on the [EDIT] indicator. 2. Use the function buttons to select the display group. 3. Use / to select the desired setting page. 4. Turn off the [EDIT] indicator.
223 Quick Reference of Procedures Appendices Controller Settings Modifying Rhythm Set Settings (basic procedure) 1. Turn on the [EDIT] indicator. 2. Use the function buttons to select the display group. 3. Use / to select the desired setting page. 4. Use the keyboard to choose a Rhythm Tone (percussion sound).
224 Quick Reference of Procedures Controlling Tone Parameters of the Patch by the Slider or Pedal (Matrix Controller) For each Patch, you can specify up to four control sources (MIDI messages for controlling). For each control source, you can specify up to four control destinations (parameters to be controlled).
225 Quick Reference of Procedures Appendices Saving and Loading Data Controlling Multi-effects Parameters by the Slider or Pedal (Multi-effects Controller) Up to four Multi-effects Controllers can be used in a single Performance/Patch/Rhythm Set.
226 Quick Reference of Procedures Saving Patch Settings 1. In Patch mode, press [UTILITY]. 2. Select “ 1. WRITE ” on the UTIL 1 page. 3. Specify the writing destination. 4. Press [ENTER]. If a message of “ Internal Write Protect= ON ” appears, change it to OFF and press [ENTER] twice.
227 Quick Reference of Procedures Appendices Controlling External MIDI Devices Deleting a File from Memory Card 1. Press [UTILITY]. 2. Select “ 1. CARD ” on the UTIL 2 page. 3. Select “ 3. DELETE. ” 4. Select the file that you wish to delete. 5.
228 Quick Reference of Procedures Controlling the XV-88 from an External MIDI Device Setting the MIDI Receive Channel for Performance Mode (for each Part) Channel parameter (PERFORM/MIDI/MIDI) Turning.
229 Quick Reference of Procedures Appendices Others Using the Panic Function Press [SHIFT] + [EXIT]. Adjusting the Tuning Master parameter (SYSTEM/TUNE/SYSTEM TUNE) Adjusting the Display Contrast LCD parameter (SYSTEM/SETUP/SYSTEM SETUP) Restoring the Temporary Performance/Patch/ Rhythm Set to the Factory Setting 1.
230 Parameter List Performance Parameters * Parameters that can be set independently for each Part are indicated by “P.” COMMON Group (p. 51) Display Parameter Value PERFORM NAME ---- Performance name ASCII Characters (max.
231 Parameter List Appendices MIDI Group (p. 52) Display Parameter Value MIDI Channel MIDI receive channel 1 – 16 P Rx Sw Receive switch OFF, ON P Mute Sw Mute switch OFF, MUTE P RxSWITCH Bank Selec.
232 Parameter List Zone Parameters * Parameters that can be set independently for each Tone are indicated by “Z.” COMMON Group (p. 58) Display Parameter Value ZONE COMMON Key Mode Key mode LAYER, SINGLE KEY RANGE Group (p. 59) Display Parameter Value KEY RANG Lower Key range lower C-1 – G9 Z Upper Key range upper C-1 – G9 Z MIDI Group (p.
233 Parameter List Appendices D BEAM Group (p. 63) Display Parameter Value D BEAM CONTROL Assign D Beam assign (*1) Output D Beam output OFF, INT, MIDI, BOTH Polarity D Beam polarity STANDARD, REVERSE.
234 Parameter List EFFECTS Group (p. 75) Display Parameter Value OUTPUT Output Assign Output assign MFX, OUTPUT A/B, INDIV 1 – 4T Output level 0 – 127 T Chorus Chorus send level 0 – 127 T Reverb.
235 Parameter List Appendices CONTROL Group (p. 76) Display Parameter Value PATCH KEY MODE Assign Key assign POLY, MONO Legato Solo legato switch OFF, ON Legato Retrigger Legato retrigger switch OFF, .
236 Parameter List LFO Group (p. 83) Display Parameter Value LFO1 WAVE Form LFO waveform SIN,TRI, SAW-UP, SAW-DW, SQR, RND, UP, DW, TRP, S&H, CHS T Ofset LFO Level offset -100, -50, 0, +50, +100 T.
237 Parameter List Appendices TVF Group (p. 87) Display Parameter Value TVF FILTER Type Filter type OFF, LPF, BPF, HPF, PKG, LPF2, LPF3 T Cutoff Cutoff frequency 0 – 127 T Resonance Resonance 0 – .
238 Parameter List EFFECTS Group (p. 97) Display Parameter Value OUTPUT Output Assign Output assign MFX, OUTPUT A/B, INDIV 1 – 4T Output level 0 – 127 T Chorus Chorus send level 0 – 127 T Reverb.
239 Parameter List Appendices PITCH Group (p. 100) Display Parameter Value PITCH Coarse Coarse tune -48 – +48 semitone T Fine Fine tune -50 – +50 cent T Random Random pitch depth 0 – 1200 cent (.
240 Parameter List GM Mode Parameters * Parameters that can be set independently for each Part are indicated by “P.” EFFECTS Group (p. 194) Display Parameter Value PART OUTPUT Output Assign Output.
241 Parameter List Appendices Multi-Effects Parameters 01: STEREO EQ (p. 119) Parameter Value LowFreq Low frequency 200, 400 Hz LowGain Low gain -15 – +15 dB Hi Freq High frequency 4000, 8000 Hz Hi Gain High gain -15 – +15 dB Mid1 Freq Middle 1 frequency 200 – 8000Hz (*1) Mid1 Q Middle 1 Q 0.
242 Parameter List 10: LIMITER (p. 123) Parameter Value Thresh Threshold level 0 – 127 Ratio Compression ratio 1.5:1, 2:1, 4:1, 100:1 Release Release time 0 – 127 Gain Post gain 0, +6, +12, +18 dB LowGain Low gain -15 – +15 dB Hi Gain High gain -15 – +15 dB Pan Output pan L64 – 0 – 63R Level Output level 0 – 127 11: HEXA-CHORUS (p.
243 Parameter List Appendices 18: MODULATION DELAY (p. 128) Parameter Value Delay L Delay time left 0.0 – 500.0 ms Delay R Delay time right 0.0 – 500.
244 Parameter List 25: GATED REVERB (p. 133) Parameter Value Type Gated Reverb type NORMAL, REVERSE, SWEEP1, SWEEP2 Pre Dly Pre delay time 0.0 – 100.
245 Parameter List Appendices 36: FLANGER → DELAY (p. 138) Parameter Value Flg Dly Flanger pre delay time 0.0 – 100.0 ms FlgRate Flanger rate 0.05 – 10.00 Hz Flg Dpt Flanger depth 0 – 127 Flg Fbk Flanger feedback level -98 – +98% Flg Bal Flanger balance D100:0W – D0:100W DlyTime Delay time 0.
246 Parameter List 45: MULTI TAP DELAY (p. 143) Parameter Value Delay 1 Delay time 1 0 – 1800 ms, note Delay 2 Delay time 2 0 – 1800 ms, note Delay 3 Delay time 3 0 – 1800 ms, note Delay 4 Delay.
247 Parameter List Appendices 51: LOFI NOISE (p. 148) Parameter Value Type LoFi type 1 – 9 Post Fltr Post Filter type OFF, LPF, HPF:(*1) Radio Detune Radio detune 0 – 127:0 – 127 (*2) Disc:LPF:L.
248 Parameter List 60: 3D CHORUS (p. 152) Parameter Value Pre Dly Pre delay time 0.0 – 100 ms Rate LFO rate 0.05 – 10.00 Hz, note Depth LFO depth 0 – 127 Phase Phase 0 – 180 degree Filter Type.
249 Parameter List Appendices Reverb Parameters REVERB (p. 159) Parameter Value Type Reverb/Delay type ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2 DELAY, PAN-DLY Time Reverb/Delay time 0 – 127 HF Dam.
250 Parameter List System Parameters SETUP Group (p. 168) Display Parameter Value SYSTEM SETUP LCD LCD contrast 1 – 10 Power Up Mode Power up mode LAST-SET, DEFAULT Master Level Master level 0 – 1.
251 Parameter List Appendices TUNE Group (p. 173) Display Parameter Value SYSTEM TUNE Master Master tune 415.3 – 466.2 Hz Key Shift Master key shift -24 – +24 semitone Scale Tune Scale tune switch OFF, ON PATCH SCALE C – B Scale tune C – B -64 – +63 cent KEY SCALE C – B Scale tune C – B -64 – +63 cent ARPEGGIO Group (p.
252 Performance List USER (User Group) No. Name Key Mode 01 Andreas Cave LAYER 02 XV Piano&Bs LAYER 03 BigOrchestra LAYER 04 SlicingSvox+ LAYER 05 Arp BellsPad LAYER 06 Soaring Saws LAYER 07 Heirb.
253 Appendices Patch List USER (User Group) PR-A (Preset A Group) No. Name Voice Key Assign 001 Y2K Concerto 8 POLY 002 XV SteelGt 1 4 POLY 003 Shapeshifter 4 POLY 004 Trance Fair 8 MONO 005 MOVE! 6 M.
254 Patch List PR-B (Preset B Group) PR-C (Preset C Group) No. Name Voice Key Assign 001 Dist Gtr 1 3 POLY 002 Dist Gtr 2 3 POLY 003 R&R Chunk 4 POLY 004 Phripphuzz 1 MONO 005 Grungeroni 3 POLY 006 Black Widow 4 POLY 007 Velo-Wah Gtr 1 POLY 008 Mod-Wah Gtr 2 POLY 009 Pick Bass 1 MONO 010 Hip Bass 2 POLY 011 Perc.
255 Patch List Appendices PR-D (Preset D Group) PR-E (Preset E Group) No. Name Voice Key Assign 001 Echo Piano 3 POLY 002 Upright Pno 3 POLY 003 RD-1000 3 POLY 004 Player's EP 2 POLY 005 D-50 Rhodes 4 POLY 006 Innocent EP 2 POLY 007 Echo Rhodes 4 POLY 008 See-Thru EP 3 POLY 009 FM BellPiano 3 POLY 010 Ring E.
256 Patch List PR-F (Preset F Group) No. Name Voice Key Assign 001 80s Retrosyn 2 POLY 002 Power Stack 3 POLY 003 Don't Jump 8 POLY 004 Big Bubbles 3 POLY 005 X-mod Sweep 1 POLY 006 Bag O' B.
257 Patch List Appendices PR-H (GM2 Group) No. Name Voice LSB PC 001 Piano 1 4 0 1 002 Piano 1w 2 1 003 European Pf 1 2 004 Piano 2 4 0 2 005 Piano 2w 1 1 006 Piano 3 1 0 3 007 Piano 3w 1 1 008 Honky-tonk 2 0 4 009 Honky-tonk 2 2 1 010 E.Piano 1 2 0 5 011 St.
258 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 96 89 91 93 95 90 92 94 C7 98 97 Note No.
259 Rhythm Set List Appendices 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 96 89 91 93 95 90 92 94 C7 98 97 Note No.
260 Rhythm Set List 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 96 89 91 93 95 90 92 94 C7 98 97 Note No.
261 Rhythm Set List Appendices 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 Note No. 27 PR-H (GM2 Group) 001 (PC: 1) GM2 STANDARD High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.
262 Rhythm Set List 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 Note No. 27 PR-H (GM2 Group) 007 (PC: 41) GM2 BRUSH High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.
263 Appendices Waveform List No. Wave Name 0001 StGrand pA L 0002 StGrand pA R 0003 StGrand pB L 0004 StGrand pB R 0005 StGrand pC L 0006 StGrand pC R 0007 StGrand fA L 0008 StGrand fA R 0009 StGrand .
264 Waveform List No. Wave Name 0251 UprightBs 2C 0252 Ac.Bass A 0253 Ac.Bass B 0254 Ac.Bass C 0255 Slap Bass 1 0256 Slap & Pop 0257 Slap Bass 2 0258 Slap Bass 3 0259 Jz.
265 Waveform List Appendices No. Wave Name 0501 DIGI Bell 1+ 0502 JD Cowbell 0503 Bell Wave 0504 Chime 0505 Crystal 0506 2.2 Bellwave 0507 2.2 Vibwave 0508 Digiwave 0509 DIGI Chime 0510 JD DIGIChime 0.
266 Waveform List No. Wave Name 0751 Rock Tom M f 0752 Rock Tom H f 0753 Rock Flm L1 0754 Rock Flm L2 0755 Rock Flm M 0756 Rock Flm H 0757 Jazz Tom L p 0758 Jazz Tom M p 0759 Jazz Tom H p 0760 Jazz To.
267 Waveform List Appendices No. Wave Name 1001 REV MplTom2 1002 REV MplTom4 1003 REV 808Tom 1004 REV VerbTomH 1005 REV VerbTomL 1006 REV DryTom H 1007 REV DryTom M 1008 REV RkClH1 p 1009 REV RkClH1mf.
268 Arpeggio Style List Style Motif Beat Pattern Accent Rate Shuffle Rate 1/4 all 1/ 4 0 – 100% 50 – 90% 1/6 all 1/ 6 0 – 100% 50 – 90% 1/8 all 1/ 8 0 – 100% 50 – 90% 1/12 all 1/12 0 – 1.
269 Appendices About MIDI MIDI (Musical Instruments Digital Interface) is a standard specification that allows musical data to be exchanged between electronic musical instruments and computers.
270 MIDI Implementation Model: XV-88 (128-Voice Expandable Synthesizer) Date: Feb. 15, 2000 Version: 1.00 1. Receive data ■ Channel Voice Messages * Not received in Performance mode when the Rx Sw parameter (PERFORM/MIDI/ MIDI) is OFF. ● Note off Status 2nd byte 3rd byte 8nH kkH vvH 9nH kkH 00H n = MIDI channel number: 0H - FH (ch.
271 MIDI Implementation Appendices ❍ Volume (Controller number 7) Status 2nd byte 3rd byte BnH 07H vvH n = MIDI channel number:0H - FH (ch.1 - 16) vv = Volume: 00H - 7FH (0 - 127) * Not received in Performance mode when the Vol parameter (PERFORM/MIDI/ RxSWITCH) is OFF.
272 MIDI Implementation ❍ Vibrato Delay (Controller number 78) Status 2nd byte 3rd byte BnH 4EH vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Vibrato Delay value (relative change): 00H - 7FH (-64 - 0 - +63) * The vibrato delay will change in GM mode.
273 MIDI Implementation Appendices mm, ll = Pitch Bend value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191) * Not received when the Bender parameter (PATCH/CONTROL/CTRL RxMIDI) is OFF. * Not received in Performance mode when the Bnd parameter (PERFORM/MIDI/ RxSWITCH) is OFF.
274 MIDI Implementation ❍ GM2 System On Status Data byte Status F0H 7EH 7FH 09H 03H F7H Byte Explanation F0H Exclusive status 7EH ID number (Universal Non-realtime Message) 7FH Device ID (Broadcast).
275 MIDI Implementation Appendices ❍ Channel Pressure Status Data byte Status F0H 7FH, 7FH, 09H, 01H, 0nH, ppH, rrH F7H Byte Explanation F0H Exclusive status 7FH ID number (universal realtime messag.
276 MIDI Implementation ❍ Data set 1DT1 (12H) Status Data byte Status F0H 41H, dev, 00H, 10H, 12H, aaH, bbH, F7H ccH, ddH, eeH, ... ffH, sum Byte Explanation F0H Exclusive status 41H ID number (Rola.
277 MIDI Implementation Appendices ❍ Volume (Controller number 7) Status 2nd byte 3rd byte BnH 07H vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Volume: 00H - 7FH (0 - 127) * In Performance (Zone) mode, these messages are not transmitted when Volume parameter (ZONE/EXT CONTROL/EXT CTRL) is NO-SEND.
278 MIDI Implementation ● Channel Pressure Status 2nd byte DnH vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Channel Pressure: 00H - 7FH (0 - 127) ● Pitch Bend Change Status 2nd byte 3rd byte EnH llH mmH n = MIDI channel number: 0H - FH (ch.
279 MIDI Implementation Appendices 3. Parameter Address Map * Transmission of “ # ” marked address is divided to some packets. For example, ABH in hexadecimal notation will be divided to 0AH and 0BH, and is sent/received in this order.
280 MIDI Implementation ❍ 1-1-3 System Keyboard +—————————————————————————————————————————————————.
281 MIDI Implementation Appendices |# 00 15 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 19 | 0000 aaaa | | | | 0.
282 MIDI Implementation |# 00 17 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1B | 0000 aaaa | | | | 0000 bbbb.
283 MIDI Implementation Appendices ❍ 1-3-1-1 Patch Common +——————————————————————————————————————————————.
284 MIDI Implementation |—————————————+———————————+—————————————————————————————————.
285 MIDI Implementation Appendices ❍ 1-3-1-3 Patch Common Chorus +————————————————————————————————————————————.
286 MIDI Implementation ❍ 1-3-1-6 Patch Tone +——————————————————————————————————————————————————.
287 MIDI Implementation Appendices ❍ 1-3-2-1 Rhythm Common +——————————————————————————————————————————————.
288 MIDI Implementation ❍ 1-3-2-3 Rhythm Common Chorus +———————————————————————————————————————————————.
289 MIDI Implementation Appendices |—————————————+———————————+——————————————————————————————.
290 MIDI Implementation 2. GS (Model ID = 42H) ❍ System Parameter +———————————————————————————————————————————.
291 MIDI Implementation Appendices |—————————————+———————————+——————————————————————————————.
292 MIDI Implementation ■ Arpeggio Parameter List ● Arpeggio Style +—————————————————————————+—————————————————.
293 MIDI Implementation Appendices ■ Decimal and Hexadecimal Table (An “ H ” is appended to the end of numbers in hexadecimal notation.) In MIDI documentation, data values and addresses/sizes of Exclusive messages, etc. are expressed as hexadecimal values for each 7 bits.
294 MIDI Implementation ■ Example of an Exclusive Message and Calculating a Checksum Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before F7) to make sure that the message was correctly received. The value of the checksum is determined by the address and data (or size) of the transmitted Exclusive message.
295 MIDI Implementation Appendices ■ The Scale Tune Feature (address: 40 1x 40) The scale Tune feature allows you to finely adjust the individual pitch of the notes from C through B. Though the settings are made while working with one octave, the fine adjustments will affect all octaves.
296 MIDI Implementation Function... Basic Channel Mode Note Number : Velocity After Touch Pitch Bend Control Change Transmitted Recognized Remarks Default Changed Default Messages Altered True Voice N.
297 MIDI Implementation Appendices Program Change System Exclusive System Common System Real Time Aux Messages Notes 72 73 74 75 76 77 78 80 81 82 83 84 91 92 93 94 95 1 – 31, 64 – 95 1 – 31, 64.
298 Specifications XV-88: 128-Voice Expandable Synthesizer (Conforms to General MIDI 2 System) ● Keyboard 88 keys (Full-weighted with velocity and channel aftertouch) ● Part 16 ● Maximum Polypho.
299 Appendices Computer Cable Wiring Diagrams 67 8 34 5 12 67 8 34 5 12 67 8 34 5 12 mini DIN, 8-pin, male mini DIN, 8-pin, male mini DIN, 8-pin, male D-sub, 25-pin, female mini DIN, 8-pin, male mini .
300 Index Symbols [+OCT] .............................................................................................. 14, 47 [-OCT] ............................................................................................... 14, 47 Numerics [0] – [9] (Numeric Keys) .
301 Index Chorus Chorus parameters ....................................................................... 248 Chorus send level (GM Part) ...................................................... 194 Chorus send level (Part) ............................
302 Index Delay Time ............................................................................................. 84 DELETE ................................................................................................ 189 [DEMO] ..................
303 Index INFO GM Part ......................................................................................... 197 Memory card ................................................................................. 190 Part ...............................
304 Index Lower D Beam range lower (System) .............................................. 46, 177 D Beam range lower (Zone) .................................................... 46, 64 Key range lower (Part) ...........................................
305 Index 50: LOFI COMPRESS ................................................................... 147 51: LOFI NOISE ............................................................................ 148 52: SPEAKER SIMULATOR .................................
306 Index PATCH CATEGORY ............................................................................ 69 Patch category ........................................................................................ 69 Patch clock source ....................
307 Index R Random Random pan depth (Rhythm Tone) .......................................... 103 Random pan depth (Tone) ............................................................ 91 Random pan switch ................................................
308 Index S SAVE ............................................................................................. 167, 190 Save Compare function ................................................................ 164, 181 Saving to a memory card ...........
309 Index TVA envelope time 4 velocity sensitivity Rhythm Tone ................................................................................ 104 Tone ..................................................................................................
310 Index V-Resonance Resonance velocity sensitivity (Rhythm Tone) ........................ 102 Resonance velocity sensitivity (Tone) ......................................... 89 V-Sens Pitch envelope velocity sensitivity (Rhythm Tone) ...............
For the USA FEDERAL COMMUNICATIONS COMMISSION RADIO FREQUENCY INTERFERENCE STATEMENT This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation.
Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. As of May 1, 2002 (Roland) ARGENTINA Instrumentos Musicales S.
デバイスRoland XV-88の購入後に（又は購入する前であっても）重要なポイントは、説明書をよく読むことです。その単純な理由はいくつかあります：
Roland XV-88をまだ購入していないなら、この製品の基本情報を理解する良い機会です。まずは上にある説明書の最初のページをご覧ください。そこにはRoland XV-88の技術情報の概要が記載されているはずです。デバイスがあなたのニーズを満たすかどうかは、ここで確認しましょう。Roland XV-88の取扱説明書の次のページをよく読むことにより、製品の全機能やその取り扱いに関する情報を知ることができます。Roland XV-88で得られた情報は、きっとあなたの購入の決断を手助けしてくれることでしょう。
Roland XV-88を既にお持ちだが、まだ読んでいない場合は、上記の理由によりそれを行うべきです。そうすることにより機能を適切に使用しているか、又はRoland XV-88の不適切な取り扱いによりその寿命を短くする危険を犯していないかどうかを知ることができます。
ですが、ユーザガイドが果たす重要な役割の一つは、Roland XV-88に関する問題の解決を支援することです。そこにはほとんどの場合、トラブルシューティング、すなわちRoland XV-88デバイスで最もよく起こりうる故障・不良とそれらの対処法についてのアドバイスを見つけることができるはずです。たとえ問題を解決できなかった場合でも、説明書にはカスタマー・サービスセンター又は最寄りのサービスセンターへの問い合わせ先等、次の対処法についての指示があるはずです。
