Roland RS-5 Manual Del Usuario

Owners Manual
Thank you, and congratulations on your choice of the Roland RS-5/9 64 Voice Synthesizer
Before using this unit, carefully read the sections entitled: USING THE UNIT
SAFELY and IMPORTANT NOTES (p. 2; p. 3). These sections provide important
information concerning the proper operation of the unit. Additionally, in order to feel
assured that you have gained a good grasp of every feature provided by your new unit,
Owners manual should be read in its entirety. The manual should be saved and kept
on hand as a convenient reference.
How to read this manual

The RS-5/9 Owner's Manual consists of two volumes, Quick Start and Advanced Use.
Quick Start explains the basic functionality of the RS-5/9. By reading the Quick Start, you
will gain an overall understanding of the RS-5/9's functions and features. And, for every
item explained, you will find a convenient reference to the relevant page numbers in
Advanced Use, which you can turn to for additional information.
Read the material in Advanced Use when making detailed settings, when saving settings,
and when using the RS-5/9 together with external devices.
This manual is arranged into sections, according to objective. Whenever you are curious
about a certain item that can be set, and want to learn more about the function, refer to the
Parameter List. The relevant reference pages are provided.
Convention Used in This Manual
Words enclosed in square brackets [ ] indicate panel buttons.

Example: [SPLIT] indicates the SPLIT button.
(p. **) indicates a reference page
Copyright 2000 ROLAND CORPORATION

All rights reserved. No part of this publication may be reproduced in any form
without the written permission of ROLAND CORPORATION.
For the U.K.

IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
NEUTRAL
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
USING THE UNIT SAFELY
The
symbol alerts the user to important instructions
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
Used for instructions intended to alert

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

carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.
001
007
Before using this unit, make sure to read the

instructions below, and the Owners Manual.
Make sure you always have the unit placed so it is

level and sure to remain stable. Never place it on
stands that could wobble, or on inclined surfaces.
..........................................................................................................
..........................................................................................................
002c
Do not open (or modify in any way) the unit or its

AC adaptor.
..........................................................................................................
003
Do not attempt to repair the unit, or replace parts

within it (except when this manual provides
specific instructions directing you to do so). Refer
all servicing to your retailer, the nearest Roland
Service Center, or an authorized Roland
distributor, as listed on the Information page.
..........................................................................................................
004
Never use or store the unit in places that are:

Subject to temperature extremes (e.g., direct
sunlight in an enclosed vehicle, near a heating
duct, on top of heat-generating equipment); or
are
Damp (e.g., baths, washrooms, on wet floors);
or are
Humid; or are
Exposed to rain; or are
Dusty; or are
Subject to high levels of vibration.
..........................................................................................................
008c
Be sure to use only the AC adaptor supplied with

the unit. Also, make sure the line voltage at the
installation matches the input voltage specified on
the AC adaptors body. Other AC adaptors may
use a different polarity, or be designed for a
different voltage, so their use could result in
damage, malfunction, or electric shock.
..........................................................................................................
009
Do not excessively twist or bend the power cord,

nor place heavy objects on it. Doing so can
damage the cord, producing severed elements and
short circuits. Damaged cords are fire and shock
hazards!
..........................................................................................................
010
This unit, either alone or in combination with an

amplifier and headphones or speakers, may be
capable of producing sound levels that could
cause permanent hearing loss. Do not operate for
a long period of time at a high volume level, or at
a level that is uncomfortable. If you experience
any hearing loss or ringing in the ears, you should
immediately stop using the unit, and consult an
audiologist.
..........................................................................................................
011
Do not allow any objects (e.g., flammable material,

coins, pins); or liquids of any kind (water, soft
drinks, etc.) to penetrate the unit.
101b
The unit and the AC adaptor should be located so

their location or position does not interfere with
their proper ventilation.
..........................................................................................................
102d
..........................................................................................................
012b
Immediately turn the power off, remove the AC

adaptor from the outlet, and request servicing by
your retailer, the nearest Roland Service Center, or
an authorized Roland distributor, as listed on the
Information page when:
The AC adaptor, the power-supply cord, or the
plug has been damaged; or
Objects have fallen into, or liquid has been
spilled onto the unit; or
The unit has been exposed to rain (or otherwise
has become wet); or
The unit does not appear to operate normally or
exhibits a marked change in performance.
..........................................................................................................
013
Always grasp only the plug or the body of the AC

adaptor when plugging into, or unplugging from,
an outlet or this unit.
..........................................................................................................
103b
Whenever the unit is to remain unused for an

extended period of time, disconnect the AC
adaptor.
..........................................................................................................
104
Try to prevent cords and cables from becoming

entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
..........................................................................................................
106
Never climb on top of, nor place heavy objects on

the unit.
..........................................................................................................
In households with small children, an adult

should provide supervision until the child is
capable of following all the rules essential for the
safe operation of the unit.
..........................................................................................................
107d
014
Before moving the unit, disconnect the AC

adaptor and all cords coming from external
devices.
..........................................................................................................
Protect the unit from strong impact.

(Do not drop it!)
..........................................................................................................
015
Do not force the units power-supply cord to share

an outlet with an unreasonable number of other
devices. Be especially careful when using
extension cordsthe total power used by all
devices you have connected to the extension
cords outlet must never exceed the power rating
(watts/amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat
up and eventually melt through.
..........................................................................................................
016
Before using the unit in a foreign country, consult

with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the Information page.
..........................................................................................................
*
*
*
*
*
*
Never handle the AC adaptor body, or its plugs,

with wet hands when plugging into, or
unplugging from, an outlet or this unit.
..........................................................................................................
108b
109b
Before cleaning the unit, turn off the power and

unplug the AC adaptor from the outlet.
..........................................................................................................
110b
Whenever you suspect the possibility of lightning

in your area, disconnect the AC adaptor from the
outlet.
..........................................................................................................
118
Should you remove the screws used for attaching

the music stand, make sure to put them in a safe
place out of children's reach, so there is no chance
of them being swallowed accidentally.
..........................................................................................................
GS (
) is a registered trademark of Roland Corporation.
Apple is a registered trademark of Apple Computer, Inc.
Macintosh is a registered trademark of Apple Computer, Inc.
IBM is a registered trademark of International Business Machines Corporation.
IBM PC is a registered trademark of International Business Machines Corporation.
All product names mentioned in this document are trademarks or registered trademarks of their respective owners.
IMPORTANT NOTES
291a
In addition to the items listed under USING THE UNIT SAFELY on page 23, please read and observe the following:
Power Supply
Additional Precautions
301
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).
302
The AC adaptor will begin to generate heat after long

hours of consecutive use. This is normal, and is not a
cause for concern.
307
Before connecting this unit to other devices, turn off the

power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.
Placement
351
Using the unit near power amplifiers (or other equipment

containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or move it farther away from the source of interference.
Do not expose the display to strong light (such as camera

flashes), as malfunction may result.
Please be aware that the contents of memory can be
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself against
the risk of loosing important data, we recommend that
you periodically save a backup copy of important data
you have stored in the units memory in another MIDI
device (e.g., a sequencer).
552
Unfortunately, it may be impossible to restore the contents

of data that was stored in another MIDI device (e.g., a
sequencer) once it has been lost. Roland Corporation
assumes no liability concerning such loss of data.
553
Use a reasonable amount of care when using the units

buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
554
352
This device may interfere with radio and television

reception. Do not use this device in the vicinity of such
receivers.
354a
Do not expose the unit to direct sunlight, place it near

devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.
355
To avoid possible breakdown, do not use the unit in a wet

area, such as an area exposed to rain or other moisture.
Never strike or apply strong pressure to the display.

556
When connecting / disconnecting all cables, grasp the

connector itselfnever pull on the cable. This way you
will avoid causing shorts, or damage to the cables
internal elements.
558a
To avoid disturbing your neighbors, try to keep the units

volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
559a
358
Do not allow objects to remain on top of the keyboard.

This can be the cause of malfunction, such as keys ceasing
to produce sound.
When you need to transport the unit, package it in the box

(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
561
Maintenance
401a
For everyday cleaning wipe the unit with a soft, dry cloth
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to wipe
the unit thoroughly with a soft, dry cloth.
402
Never use benzine, thinners, alcohol or solvents of any

kind, to avoid the possibility of discoloration and/or
deformation.
Use only the specified expression pedal (EV-5; sold

separately). By connecting any other expression pedals,
you risk causing malfunction and/or damage to the unit.
What can I do with the RS-5/9? (Main features)

High-Quality Tones at a Low Price
Stylish Aluminum Panel
The onboard Tones were composed using Tone resources

from previous XP and JV Series models. Despite the low cost
of this instrument, it features 640 high-quality internal Tones
(Preset: 512, including GM and GM2 Tones; User: 128),
plenty for just about any live performance.
The RS-5/9 features a titanium-toned aluminum panel for a

great look onstage. The light weight adds to the RS-5/9s
portability; and whats more, its extremely durable.
GM/General MIDI
Includes Piano Button (RS-9 Only)

Regardless of the mode, pressing this button provides you
with the optimum settings for piano performances (p. 60).
16-Part, 64-Voice GM2 Sound Generator

Maximum polyphony is 64 notes, and up to 16 parts can be
handled simultaneously. When working with music data
that conforms to General MIDI and/or General MIDI 2 (GM
scores), you can combine the RS-5/9 with a computer or
sequencer, and use the RS-5/9 to play back the data (p. 128).
Includes Favorite Performance Bank Buttons
fig.GM logo
General MIDI is a set of recommendations which seeks

to provide a way to go beyond the limitations of
proprietary designs, and standardize the MIDI
capabilities of sound generating devices. Sound
generating devices and music files that meet the General
MIDI standard bear the General MIDI logo (
).
Music files bearing the General MIDI logo can be played
back using any General MIDI sound generating unit to
produce essentially the same musical performance.
GM 2/General MIDI 2
You can register the Performances you like to these eight

buttons and easily call them up whenever you wish (p. 58).
fig.GM2 logo
Knob Controls for Adjusting the Sound in

Real Time
The upwardly compatible General MIDI 2 (

)
recommendations pick up where the original General MIDI
left off, offering enhanced expressive capabilities, and even
greater compatibility. Issues that were not covered by the
original General MIDI recommendations, such as how
sounds are to be edited, and how effects should be
handled, have now been precisely defined. Moreover, the
available sounds have been expanded. General MIDI 2
compliant sound generators are capable of reliably playing
back music files that carry either the General MIDI or
General MIDI 2 logo. In some cases, the conventional form
of General MIDI, which does not include the new
enhancements, is referred to as General MIDI 1 as a way
of distinguishing it from General MIDI 2.
These six convenient knobs let you can change the properties
of the sound while you perform (p. 74).
Powerful Onboard Effects

Advanced DSP (Digital Signal Processor) technology
provides a wide array of studio quality effects. In addition to
the multiple effects section that features 42 different types of
effects, the RS-5/9 also features an independent chorus unit
and reverb unit (p. 79).
Arpeggiator Included
The RS-5/9s arpeggiator function allows you to produce
arpeggios (broken chords) simply by playing a chord in the
keyboard. You can also use these knobs for changing
Patterns in real time. Additionally, you can use them to
synchronize arpeggio tempos with a connected sequencer or
other device (p. 75).
GS Format
Tone Search and Phrase Preview

Functions Included
defined by the General MIDI, the highly compatible GS

Format additionally offers an expanded number of
sounds, provides for the editing of sounds, and spells
out many details for a wide range of extra features,
including effects such as reverb and chorus. Designed
with the future in mind, the GS Format can readily
include new sounds and support new hardware features
when they arrive.
The Tone Search function (p. 23) lets you rapidly find the
tone you want simply by specifying a tone category. By
pressing [PHRASE PREVIEW] button, you can then hear the
selected tone play a phrase suitable for that type of tone.
(Phrase Preview function, p. 33)
fig.GS logo
The GS Format (
) is Rolands set of specifications for
standardizing the performance of sound generating
devices. In addition to including support for everything
Contents
USING THE UNIT SAFELY ......................................................................................... 2
IMPORTANT NOTES .................................................................................................. 4
What can I do with the RS-5/9? (Main features) ...................................................... 5
Front and Rear Panel ............................................................................................... 10
Quick Start...................................................... 13
Getting Ready........................................................................................................... 14
Connecting the RS-5/9 to external equipment..................................................................................... 14
Turning On the Power ............................................................................................................................. 15
Turning the power off .................................................................................................................. 16
Adjusting the display contrast (LCD CONTRAST) ............................................................................ 16
Adjusting the pitch to other instruments (Master Tuning) ................................................................ 18
Listening to the Demo (DEMO) ............................................................................... 19

Demo Songs List ....................................................................................................................................... 20
Playing the Sounds.................................................................................................. 21

Restoring the Factory Settings (Factory Reset)..................................................................................... 21
Selecting Tones By Category (TONE CATEGORY) ............................................................................ 23
Selecting Tones by Specifying the Group and Number...................................................................... 26
Easy Tone Selection (Switching Parts) .................................................................................................. 28
Playing Percussion Instruments (Drum Sets)....................................................................................... 29
Changing a Drum Set ................................................................................................................... 29
Selecting Drum Sets by Specifying the Group and Number .................................................. 30
Playing a Drum Set in a Part Other Than Part 10..................................................................... 31
Notes when selecting a Drum Set............................................................................................... 32
Trying out tones (PHRASE PREVIEW)................................................................................................. 33
Playing Two Tones on the Keyboard ..................................................................... 34

Dividing the Keyboard into Separate Ranges and Playing Different Tones in Each (SPLIT) .........34
Playing two Tones from the keyboard (DUAL)................................................................................... 36
Selecting Tones and Drum Sets .............................................................................................................. 37
Selecting Tones By Category (TONE CATEGORY)................................................................. 37
Selecting Tones by Specifying the Group and Number .......................................................... 38
Changing the Two Parts Being Used..................................................................................................... 39
Changing the Split Point ......................................................................................................................... 40
Using the Convenient Functions in Performances............................................... 42

Creating Arpeggios from the Chords You Play (ARPEGGIO ON/OFF) ........................................ 42
Using Multi-effects, Chorus, and Reverb.............................................................................................. 44
Turning the Effects On and Off (EFFECTS ON/OFF)............................................................. 44
Setting the Amount of Chorus and Reverb ............................................................................... 46
Changing the Multi-effect Type .................................................................................................. 47
Transposing All the Parts (TRANSPOSE ON/OFF) ........................................................................... 48
Setting the Amount of Transposition......................................................................................... 48
Changing the Sounds Pitch in Real Time (Pitch Bend Lever)........................................................... 50
Adding a Vibrato Effect to the Sound (Modulation Lever)................................................................ 51
Changing the Tone with the Knobs ....................................................................................................... 52
Vibrato and Wah Effects (LFO) ................................................................................................... 52
Changing the sounds volume (ENVELOPE) ........................................................................... 54
Changing the Brightness of the Sound and Adding Special Qualities (FILTER) ................ 55
Changing the RS-5/9s Settings All At Once (Selecting Performances)........................................... 56
Easily Selecting the Performances You Like (FAVORITE PERFORM BANK) ............................... 58
Registering Performances ............................................................................................................ 58
Easily Selecting Performances..................................................................................................... 59
Instantly Switching to Piano Mode ............................................................................................ 60
Contents
Advanced Use ................................................. 61

Chapter 1. An overview of the RS-5/9 .................................................................... 62
Basic Organization of the RS-5/9........................................................................................................... 62
Classification of RS-5/9 Sound Types ................................................................................................... 62
Tone................................................................................................................................................. 62
Drum Set......................................................................................................................................... 62
Performance ................................................................................................................................... 62
About Memory.......................................................................................................................................... 63
Maximum Polyphony .............................................................................................................................. 64
Preventing notes of an important Part from being cut off (Voice Reserve) ......................... 64
Modifying the Value of a Setting ........................................................................................................... 64
Convenient shortcuts ............................................................................................................................... 65
If Stuck Notes Occur (PANIC)............................................................................................................ 65
When Sounds From the RS-5/9 Do Not Stop Playing............................................................. 65
What to Do When an External Sound Generator Fails to Stop Sounding ............................ 65
Chapter 2. Part Volume and Pan Settings ............................................................. 66

Chapter 3. Mastering Use of the Performance Features ...................................... 67
Playing single-note lines (Solo) .............................................................................................................. 67
Smoothly Changing the Pitch of the Sound (Portamento) ................................................................. 67
Determining the Volume from the Force Used To Play the Keys (Velocity Sense)........................ 68
Transposing Performances...................................................................................................................... 69
Transposing All Parts (TRANSPOSE ON/OFF) ...................................................................... 69
Transposing a Specified Part (Key Shift) ................................................................................... 69
Adding Breadth to the Sound by Layering Tones with Different Pitches (Fine Tune).................. 69
Changing to Pure Temperament or an Arabic scale (Scale Tune)..................................................... 70
What are Equal Temperament, Pure Temperament, and Arabic scales?.............................. 70
Making Scale Tune settings ......................................................................................................... 70
Chapter 4. Changing Tones in Real Time .............................................................. 71

Changing the Pitch in Realtime (Pitch Bend Lever) ............................................................................ 71
Using the Modulation Lever to modify the sound.............................................................................. 71
Using a pedal to modify the sound........................................................................................................ 73
Switching the Pedals Polarity (Pedal Polarity) ........................................................................ 73
Using a knob to modify the sound......................................................................................................... 74
Switching to the Value at the Current Knob Positions (MANUAL) ..................................... 74
Chapter 5. Using the arpeggiator ........................................................................... 75

Turning the Arpeggio Function On and Off (ARPEGGIO ON/OFF) .............................................. 75
Tip for Creating Arpeggio Patterns ....................................................................................................... 75
Arpeggiator parameters you can set...................................................................................................... 75
Creating a pattern..................................................................................................................................... 77
Using the Knobs to Change Patterns in Real Time.............................................................................. 78
Chapter 6. Effect Settings ....................................................................................... 79

Turning the Effect Function On and Off (EFFECTS ON/OFF) ......................................................... 79
The Effect Signal Path .............................................................................................................................. 80
Making Multi-Effects Settings ................................................................................................................ 80
Setting the Multi-Effects Source.................................................................................................. 80
Select the Type and Set Each Parameter .................................................................................... 81
00: THROUGH............................................................................................................................... 82
01: STEREO EQ (Stereo Equalizer) ............................................................................................. 82
02: OVERDRIVE ............................................................................................................................ 83
03: DISTORTION........................................................................................................................... 83
04: PHASER.................................................................................................................................... 84
05: SPECTRUM.............................................................................................................................. 84
06: ENHANCER ............................................................................................................................ 85
07: AUTO WAH ............................................................................................................................ 85
08: ROTARY................................................................................................................................... 86
Contents
09: COMPRESSOR ........................................................................................................................ 87

10: LIMITER ................................................................................................................................... 87
11: HEXA-CHORUS...................................................................................................................... 88
12: TREMOLO CHORUS ............................................................................................................. 88
13: SPACE-D .................................................................................................................................. 89
14: STEREO CHORUS .................................................................................................................. 89
15: STEREO FLANGER ................................................................................................................ 90
16: STEP FLANGER ...................................................................................................................... 91
17: STEREO DELAY...................................................................................................................... 92
18: MODULATION DELAY........................................................................................................ 93
19: TRIPLE TAP DELAY .............................................................................................................. 94
20: QUADRUPLE TAP DELAY .................................................................................................. 95
21: TIME CONTROL DELAY...................................................................................................... 96
22: 2VOICE PITCH SHIFTER ...................................................................................................... 96
23: FBK PITCH SHIFTER (Feedback Pitch Shifter) .................................................................. 97
24: REVERB .................................................................................................................................... 98
25: GATED REVERB..................................................................................................................... 99
26: OVERDRIVECHORUS....................................................................................................... 99
27: OVERDRIVEFLANGER................................................................................................... 100
28: OVERDRIVEDELAY ........................................................................................................ 100
29: DISTORTIONCHORUS ................................................................................................... 101
30: DISTORTIONFLANGER ................................................................................................. 101
31: DISTORTIONDELAY....................................................................................................... 101
32: ENHANCERCHORUS ..................................................................................................... 102
33: ENHANCERFLANGER ................................................................................................... 102
34: ENHANCERDELAY ........................................................................................................ 103
35: CHORUSDELAY............................................................................................................... 103
36: FLANGERDELAY............................................................................................................. 104
37: CHORUSFLANGER ......................................................................................................... 104
38: CHORUS/DELAY ................................................................................................................ 105
39: FLANGER/DELAY .............................................................................................................. 105
40: CHORUS/FLANGER........................................................................................................... 105
41: LOFI ........................................................................................................................................ 106
42: SLICER.................................................................................................................................... 106
Setting Multi-Effects as On/Off for Individual Parts ............................................................ 107
Making Chorus Settings ........................................................................................................................ 107
Select the Type and Set Each Parameter .................................................................................. 107
Setting the Chorus Depth for Each Part................................................................................... 108
Making Reverb Settings......................................................................................................................... 108
Selecting the Type and Setting Each Parameter ..................................................................... 108
Setting the Reverb Depth of Each Individual Part ................................................................. 109
Chapter 7. Creating your original Tone or Drum Set .......................................... 110

Creating a Tone....................................................................................................................................... 110
Tone Parameters That Can Be Set............................................................................................. 110
Creating a Tone ........................................................................................................................... 111
Creating a Drum Set............................................................................................................................... 112
Drum Set Parameters That Can Be Set..................................................................................... 112
Creating a Drum Set ................................................................................................................... 112
Chapter 8. Saving Your Settings .......................................................................... 113

Saving Tone / Drum Set / Performance............................................................................................. 113
Assigning a name ........................................................................................................................ 113
How to Save ................................................................................................................................. 114
Saving settings on an external sequencer (Bulk Dump) ................................................................... 115
Setting the Device ID Number .................................................................................................. 115
Bulk dump procedure ................................................................................................................ 115
Setting the System Exclusive Receive Switch ......................................................................... 116
Restoring saved settings to the RS-5/9 .................................................................................... 116
Contents
Chapter 9. Restoring the Original Settings.......................................................... 117

Restoring the Factory Settings (Factory Reset)................................................................................... 117
Restoring GM/GM2 Basic Settings (GM/GM2 SYSTEM ON) ........................................................ 117
Chapter 10. Performing With An External MIDI Device ...................................... 118

About MIDI ............................................................................................................................................. 118
MIDI connectors .......................................................................................................................... 118
MIDI Channels and Multi-timbral Sound Generators........................................................... 118
MIDI messages used by the RS-5/9 ......................................................................................... 119
Playing Sounds from an External MIDI Sound Generator With the RS-5/9................................. 120
Connecting to External MIDI Sound Generators ................................................................... 120
Set the Keyboard Transmit Channel ........................................................................................ 120
Selecting sounds on another device using the RS-5/9 .......................................................... 121
Playing the RS-5/9s Sound Generator from an External MIDI Device......................................... 122
Connecting External MIDI Device............................................................................................ 122
Setting the Receive Channel and Tone Change Receive Switch .......................................... 122
Selecting RS-5/9 Sounds from an External MIDI Device...................................................... 123
Using an External MIDI Controller to Change the RS-5/9s Tones..................................... 123
Chapter 11. Recording Performances on the RS-5/9 to an External Device .... 124
Recording to an External Sequencer.................................................................................................... 124
Connecting to an External Sequencer ...................................................................................... 124
Making Settings Before Recording ........................................................................................... 124
Recording ..................................................................................................................................... 125
Listening to the Recorded Performance................................................................................... 126
Playing Together with the Playback of a Recorded Performance........................................ 126
Transposing Playback of Performances (Master Key Shift).................................................. 126
Enjoying Computer Music .................................................................................................................... 126
Connecting a Computer ............................................................................................................. 126
Making Settings Prior to Recording, Recording, and Listening to the Recorded Performance ....... 128
Using the RS-5/9 as a GM/GM2 System-Compatible Sound Module .......................................... 128
Playing Back GM/GM2 Music Data ........................................................................................ 128
Creating Songs for GM and GM2 System Sound Generators .............................................. 129
Appendices ................................................... 131

Troubleshooting..................................................................................................... 132
Error Messages/Message List .............................................................................. 135
Error Message List.................................................................................................................................. 135
Message List ............................................................................................................................................ 135
Parameter List ........................................................................................................ 137

Performance ............................................................................................................................................ 137
Performance Part .................................................................................................................................... 139
Tone .......................................................................................................................................................... 140
Drum Set .................................................................................................................................................. 140
System ...................................................................................................................................................... 141
Multi-Effect.............................................................................................................................................. 142
Performance List.................................................................................................... 147

Tone List ................................................................................................................. 148
Drum Set List.......................................................................................................... 151
Arpeggio Style List ................................................................................................ 155
MIDI Implementation .............................................................................................. 156
Specifications......................................................................................................... 173
Index........................................................................................................................ 174
Information ............................................................................................................. 178
9
Front and Rear Panel
A
PIANO Button
(RS-9 Only)
You can get the perfect settings for piano performances with
the press of a single button (p. 60).
FILTER
LFO ON/OFF Button
This determines whether the LFO changes the filter cutoff
frequency (ON), or the pitch (OFF) (p. 52).
CUTOFF Knob
VOLUME Knob
Changes the Tones Cutoff Frequency value (p. 55).
Adjusts the overall volume that is output from the OUTPUT

jacks, and the PHONES jack (p. 16).
RESONANCE Knob
Changes the Tones Resonance value (p. 55).
LFO
RATE Knob
Changes the LFO Rate value (p. 52).
LED Display
DEPTH Knob
Displays the Tone number, Drum Set number, or

Performance number.
Changes the LFO Depth value (p. 52).
Display
ENVELOPE
ATTACK Knob
This displays information regarding the operation you are

performing.
Changes the Envelope Attack Time value (p. 54).
FAVORITE PERFORM BANK Buttons 18
RELEASE Knob
These allow you to register and immediately call up your

favorite Performances (p. 58).
Changes the Envelope Release Time value (p. 54).
MANUAL Button
Sets the parameters assigned to the six knobs (LFO,
ENVELOPE, FILTER) to the values at the current knob
positions (p. 74).
ARPEGGIO/CONTROL Button
Allows control of other parameters with the four LFO and
ENVELOPE knobs (p. 74, 78).
10
ARPEGGIO ON/OFF Button

This button turns the arpeggio on or off (p. 75).
EFFECTS ON/OFF Button

Switches the multi-effects, reverb, and chorus effects on and
off (p. 79).
TRANSPOSE ON/OFF Button

Transposes all Parts (p. 48).
SHIFT Button
This button is used in conjunction with other buttons (p. 64,
65).
C
PHRASE PREVIEW Button
Press this button to check the sound of a Tone or Drum Set
before selecting (p. 33).
E
TONE CATEGOTY Button
UTILITY Button
Selects Tones when the Tone Search function is used (p. 23).
Used when saving data (p. 113), transmitting GM or GM2 Setup

messages (p. 129), and restoring previous settings (p. 117).
PERFORM/TONE Button
PART
Button
Switches the Parts (p. 28).
VALUE -/+ Button

This is used to modify values. When one of these buttons is
first held down and the other is pressed, the value then
changes rapidly while [SHIFT] is held down (p. 64).
D
KEY MODE
SPLIT Button
Sets Key Mode to Split. When pressed, the keyboard is split
into two separate ranges, with a different Tone played in
each (p. 34).
DUAL Button
Sets Key Mode to Dual. When pressed, two different Tones
are layered together (p. 36).
This button switches between the Tone Select display and the
Performance Select display (p. 23, 29, 57).
USER/PRESET Button
This button switches between User Tones (or Drum Sets or
Performances) and Preset Tones (or Drum Sets or
Performances) (p. 26, 30, 57).
F
Numeric Keys 10
Used for inputting numbers when selecting and saving
Tones and Performances (p. 27, 30, 57). When selecting Tones
by category, these specify the category (p. 23). When the
EDIT button is pressed, the functions printed beneath the
buttons can be selected.
EDIT Button
Press this button when you wish to adjust various settings.
ENTER Button
Use this button to finalize a value or execute an operation.
11
MIDI Connectors
PHONES Jack
External MIDI devices can be connected here (p. 120, 122,

124, 127). Use MIDI cables (sold separately) to make
connections.
Accepts connection of headphones (p. 14).
IN:
MIDI messages from an external device are received at
this connector.
OUT:
MIDI messages are transmitted from this connector to an
external device.
K
Cord Hook
To prevent the inadvertent disruption of power to your unit
(should the plug be pulled out accidentally), and to avoid
applying undue stress to the AC adaptor jack, anchor the
power cord using the cord hook, as shown in the illustration.
THRU:
MIDI messages received at MIDI IN are re-transmitted
without change from this connector to an external MIDI
device.
H
PEDAL Jack
CONTROL:
Accepts connection of an external pedal, such as an
expression pedal (the optional EV-5), pedal switch (the
optional DP-2/6), or foot switch (the optional BOSS FS5U) (p. 14).
HOLD:
Allows you to use a connected pedal switch (the optional
DP-2/6) or foot switch (the optional BOSS FS-5U) as a
hold pedal (p. 14).
I
OUTPUT Jacks
Connect your amp or mixer to these jacks (p. 14). These jacks
output the audio signal in stereo. For mono output, use the L
jack.
12
L
AC Adaptor Jack
Connect the included AC adaptor here (p. 14).
M
POWER Switch
Turns the power on/off (p. 15).
Quick Start
13
Getting Ready
Connecting the RS-5/9 to external equipment
The RS-5/9 does not contain an amp or speaker. Youll need to listen to it
through powered monitors, a mixer and connected monitors, a stereo
system, or through headphones.
Connect as follows when using the RS-5/9 as a stand-alone device.
fig.Q-01
To prevent the
inadvertent disruption of
power to your unit
(should the plug be
pulled out accidentally),
and to avoid applying
undue stress to the AC
adaptor jack, anchor the
power cord using the
cord hook, as shown in
the illustration.
Stereo headphones
Audio cables, MIDI

cables, and stereo
headphones are not
included. You will need
to purchase these items
from your dealer.
AC adaptor
to AC power outlet
Roland
Pedal switch (DP-2, DP-6)

or foot switch
(BOSS FS-5U)
Audio
cable
Use only the specified

expression pedal (EV-5;
sold separately). By
connecting any other
expression pedals, you
risk causing malfunction
and/or damage to the
unit.
Expression pedal (EV-5)

or pedal switch
Mixer etc.
Monitor speakers
(powered)
Audio set etc.
Power amp
1
14
Before starting the connection procedure, make sure that the

power to all devices has been turned off.
To prevent malfunction
and/or damage to speakers
or other devices, always
turn down the volume, and
turn off the power on all
devices before making any
connections.
Getting Ready
Connect the supplied AC adaptor to the RS-5/9, and then plug

its other end into a power outlet.
Connect the RS-5/9 and the external device as shown in the

figure.
Use audio cables to connect audio equipment, such as an amp or speakers.
If you are using headphones, plug them into the PHONES jack. Connect
pedal switches or expression pedals as necessary.
CONTROL PEDAL jack

can also accommodate
pedal switches.
In order to take full
advantage of the RS-5/9s
performance, we
recommend using a
stereo amp/speaker
system, If you are using a
mono system, make you
connections to the
OUTPUT jack L (MONO).
When you want to how to make the connections for use with another
external device
Playing Sounds from an External MIDI Sound Generator With the RS-5/9 (p. 120)
Playing the RS-5/9s Sound Generator from an External MIDI Device (p. 122)
Recording to an External Sequencer (p. 124)

Enjoying Computer Music (p. 126)
Turning On the Power
Before turning on the RS-5/9s power, make sure that:

Are all devices connected properly?
Are the volume controls of the RS-5/9 and the other connected
equipment turned to the minimum position?
Is the AC adapter correctly connected to the RS-5/9?
Press the RS-5/9s power switch on the rear panel to turn on

the power.
Once the connections have

been completed (p. 14),
turn on power to your
various devices in the order
specified. By turning on
devices in the wrong order,
you risk causing
malfunction and/or
damage to speakers and
other devices.
fig.Q-02
This unit is equipped with

a protection circuit. A brief
interval (a few seconds)
after power up is required
before the unit will operate
normally.
Turn on the power of the connected audio devices.

15
Getting Ready
Getting Ready
Play the RS-5/9s keyboard and gradually raise the volume

controls of the RS-5/9, or the connected audio equipment to an
appropriate volume level.
fig.Q-03
Turn up the RS-5/9s

volume level carefully.
Excessive volume can
damage connected audio
devices, your hearing, or
annoy your neighbors.
Turning the power off
Before you turn off the power, make sure of the following points.
Are the volume controls of the RS-5/9 and the other connected
equipment turned to the minimum position?
Have you saved the sounds or other data youve created? (p. 113)
Turn off the power for all connected audio devices.
Turn off the RS-5/9 power switch.
Adjusting the display contrast

(LCD CONTRAST)
The characters in the display may be difficult to view immediately after
turning on the power or after extended use; this may also be because of
where and how the display is situated. Follow the steps below to adjust the
displays contrast.
The LCD CONTRAST

setting affects the RS-5/9 as
a whole (i.e., is a system
setting). This setting
remains stored in memory
even while the power is off.
fig.Q-04
2,5
16
4 1,6 3
Press [EDIT], getting the indicator to light.
Use VALUE [-]/[+] to select System Setup.
Press [ENTER].
Getting Ready
Getting Ready
Press [5] a number of times to select LCD Contrast.

fig.Q-05
If you hold down [SHIFT]

and press [5], you will
return to the previous item.
Press VALUE [-]/[+] to set the value (18).
Press [EDIT].
The [EDIT] indicator goes out, and you are returned to the previous screen.
Easily Setting the LCD Contrast

If you hold down [SHIFT] while you press [PHRASE PREVIEW], you can
select the LCD Contrast screen directly. Make settings as explained in
steps 56 of the above procedure.
fig.Q-06
17
Getting Ready
Adjusting the pitch to other instruments

(Master Tuning)
When playing the RS-5/9 together with other instruments, the pitch of all
instruments must be adjusted to matchotherwise you will be out of tune!
In general, the tuning of an instrument is indicated by the pitch in Hertz
(Hz) of the middle A note.
fig.Q-07
2,5
1,6 3
Use VALUE [-]/[+] to select System Setup.
Press [ENTER].
Press [4] a number of times to select Master Tune.
The Master Tune setting is

a system setting that is
applied to the entire RS-5/9
(i.e., is a system setting).
This setting remains stored
in memory even while the
power is off.
fig.Q-08

Press VALUE [-]/[+] to set the value (415.3440.0466.2).

Match the pitch of the middle A note on the RS-5/9 to the other
instruments.
Press [EDIT].
18
The process of putting the

standard pitches in tune is
called Tuning.
Listening to the Demo (DEMO)

The RS-5/9 contains Demo songs.
Heres how to hear the demo songs and experience the superb sounds and
effects of the RS-5/9.
All rights reserved.

Unauthorized use of this
material for purposes other
than private, personal
enjoyment is a violation of
applicable laws.
fig.Q-09
Press [SHIFT] and [TRANSPOSE ON/OFF] at the same time.

The following display will appear.
fig.Q-10
4,5 3
Press VALUE [-]/[+] to select the song that you wish to hear.
While the demo songs

are playing back, playing
the keyboard will not
produce sound.
No data for the music
that is played will be
output from MIDI OUT.
If you want to listen to all of the songs played in order, select All Songs.
Press [ENTER] to start demo song playback.

The selected song is played back repeatedly.
When All Songs is selected, the entire selection of songs is played back
repeatedly.
4
5
Press [EXIT] to stop playback.
To return the keyboard to performance mode, press [EXIT]

once more.
In Step 4, the performance

stops even when [ENTER]
is pressed instead of
[EXIT].
In Step 5, the keyboard is
returned to performance
mode even when
[ENTER] is pressed
instead of simultaneously
pressing [SHIFT] and
[TRANSPOSE ON/OFF].
19
Demo Songs List

The RS-5/9 comes with 3 demos.
1. The Groove's Up
Copyright 2000, Roland Corporation
2. RS Fanfare
3. Journey To RS
20
Playing the Sounds

Restoring the Factory Settings
(Factory Reset)
When learning how to use the RS-5/9, its a good idea to reset it to its factory
settings to ensure that its operation matches the behavior described in its
manuals.
Notes
fig.(!)
When data is being written to the User Memory, the message KEEP
POWER ON! appears in the display; be sure not to turn off the power while
this message is displayed.
When this operation is

executed, the settings
stored in the User Area
(where the User Tones and
other Tones you have
created are stored) as well
as the System setup
settings are lost. If you
want to keep this data, save
it to an external sequencer
or computer using Bulk
Dump (p. 115).
If the power is turned off or interrupted while data is being written to

memory, the internal data may become corrupted, and you may not be able
to turn the power back on. If you have confirmed that internal data has been
lost, or if a similar problem exists, consult your Roland dealer or Roland
Service. Note, however, that Roland assumes no liability, including
compensation, for consequences arising from loss of data.
fig.Q-11
1
2
3
Playing the Sounds
Press [UTILITY], getting the indicator to light.
Use VALUE [-]/[+] to select Factory Reset.

fig.Q-12
Press [ENTER].
21
Playing the Sounds
fig.Q-12a
5,6
Use VALUE [-]/[+] to select All.

fig.Q-13
Press [ENTER].
The confirmation message appears.
fig.Q-14
Press [ENTER] once again to start the Factory Reset operation.

After the Factory Reset operation is finished, the display will indicate
Completed.
The [UTILITY] indicator goes out, and you are returned to the previous
screen.
When you want to return a portion of the User memory to factory

settings
Restoring the Factory Settings (Factory Reset) (p. 117)
22
To cancel the Factory

Reset, press [EXIT].
Even if the Factory Reset
operation is executed, the
display may be difficult
to read, depending on
the angle at which the
RS-5/9 is placed. When
this occur, adjust depth
of the display (p. 16).
Playing the Sounds
Selecting Tones By Category

(TONE CATEGORY)
The RS-5/9 features a Tone Search function that allows you to rapidly
select and call up Tones by specifying the type of tone (Category). The 35
categories are organized into 10 groups.
When shipped from the

factory, [TONE CATEGORY]
is set to ON.
fig.Q-15
1
2
Press [PERFORM/TONE] to call up the Tone Search screen.
Make sure that the [TONE CATEGORY] indicator is lit.

If the [TONE CATEGORY] indicator is not lit, press [TONE CATEGORY]
once more.
Should PERFORM be
displayed, simply press
[PERFORM/TONE] once
more, and the Tone
selection screen is
displayed.
fig.Q-16exp
Tone selection screen
Tone Name
Part
Category
Tone Number
3
4
Playing the Sounds
Tone Group
Press the numeric keys ([1][0]) a number of times until you

can select the Category you want.
Press VALUE [-]/[+] to select a Tone in the currently selected

Category.
23
Playing the Sounds
Selecting Categories from the Full List

In Step 3, if you hold down [TONE CATEGORY] and press a numerical key
([1][0]), the Category selection screen is displayed.
The indicator will begin blinking, instead of lighting steadily.
fig.Q-17
Press the numeric keys ([1][0]) a number of times, or press VALUE [-]/[+],
to select the Category.
Pressing [TONE CATEGORY] or [EXIT] returns you to the original screen
(the screen displayed in Step 2).
The indicator changes from blinking to lit.
When a Drum Set is Selected

DRM appears in the display if a Drum Set is selected when
[TONE CATEGORY] is on (p. 29).
Note that, in this case, the numerical keys ([1][10]) are disabled.
fig.Q-18
24
Playing the Sounds
The following categories can be selected.
Keys&Organ
Category
PNO
EP
KEY
BEL
MLT
ORG
ACD
HRM
Guitar
AGT
EGT
DGT
Bass
BS
SBS
Orchestral
STR
ORC
HIT
WND
FLT
Brass
BRS
SBR
SAX
Synth
HLD
SLD
TEK
PLS
FX
SYN
Vocal&Pad
VOX
BPD
SPD
Ethnic
PLK
ETH
FRT
Rhythm&SFX PRC
SFX
Contents
AC.PIANO
EL.PIANO
KEYBOARDS
Acoustic Piano
Electric Piano
Other Keyboards
(Clav, Harpsichord etc.)
BELL
Bell, Bell Pad
MALLET
Mallet
ORGAN
Electric and Church Organ
ACCORDION
Accordion
HARMONICA
Harmonica, Blues Harp
AC.GUITAR
Acoustic Guitar
EL.GUITAR
Electric Guitar
DIST.GUITAR
Distortion Guitar
BASS
Acoustic & Electric Bass
SYNTH BASS
Synth Bass
STRINGS
Strings
ORCHESTRA
Orchestra Ensemble
HIT&STAB
Orchestra Hit, Hit
WIND
Winds (Oboe, Clarinet etc.)
FLUTE
Flute, Piccolo
AC.BRASS
Acoustic Brass
SYNTH BRASS
Synth Brass
SAX
Sax
HARD LEAD
Hard Synth Lead
SOFT LEAD
Soft Synth Lead
TECHNO SYNTH Techno Synth
PULSATING
Pulsating Synth
SYNTH FX
Synth FX (Noise etc.)
OTHER SYNTH
Poly Synth
VOX
Vox, Choir
BRIGHT PAD
Bright Pad Synth
SOFT PAD
Soft Pad Synth
PLUCKED
Plucked (Harp etc.)
ETHNIC
Other Ethnic
FRETTED
Fretted Inst (Mandolin etc.)
PERCUSSION
Percussion
SOUND FX
Sound FX
Playing the Sounds
Category
Group
Piano
25
Playing the Sounds
Selecting Tones by Specifying the

Group and Number
Tones are separated into the following two groups. You can select Tones by
specifying the group and number.
User
128 Tones can be stored here. You can overwrite the Tones already stored
here, replacing them with Tones you create (p. 113).
Preset
This area holds 512 Tones; these cannot be overwritten or replaced.
However you may modify the settings of the currently selected tone, and
then store the modified tone in User memory.
1256 are the RS-5/9s original Tones.
Tones 257512 provide compliance with GM2.
fig.Q-19
13 2
Press [PERFORM/TONE] to display the Tone selection screen.
Press [TONE CATEGORY] to make the indicator goes out.

The following screen appears.
fig.Q-20exp
Tone selection screen
Tone Number
Tone Name
Part
Tone Number
Tone Group
26
Press [USER/PRESET] to select the group (User or Preset).
Should PERFORM be
[PERFORM/TONE] once
more, and the Tone
selection screen is
displayed.
Playing the Sounds
Press the numeric keys ([1][0]) to specify the Tone number

(User: 1128, Preset: 1512).
If you make a mistake,

press [EXIT] and specify
the number once more.
Press [ENTER] to finalize the entry.
Changing values by large amounts
Instead of using Steps 4

and 5, you can also switch
Tones by pressing VALUE
[-]/[+].
When changing values on the RS-5/9, press VALUE [-]/[+]. You can change
values by large amounts using the methods described below.
To increase the value, hold down VALUE [+] and press VALUE [-].
To decrease the value, hold down VALUE [-] and press VALUE [+].
To increase the value in units of ten, hold down [SHIFT] and press VALUE [+].
To decrease the value in units of ten, hold down [SHIFT] and press VALUE [-].
When you want to know the name and number of the Tone
Tone List (p. 148)
When you want to know how to switch Tones with Key Mode set to
Split or Dual
Selecting Tones and Drum Sets (p. 37)
To create Tones by yourself
Creating a Tone (p. 110)
When you want to store a Tone you have created to User memory
Saving Tone / Drum Set / Performance (p. 113)
When you want to switch Tones from an external MIDI device
Playing the Sounds
Selecting RS-5/9 Sounds from an External MIDI Device (p. 123)
27
Playing the Sounds
Easy Tone Selection (Switching Parts)

By switching Parts, you can select Tones easily.
The RS-5/9 has 16 Parts. Parts are the equivalent of performers playing
instruments, and you can assign a different Tone to each individual Part.
Selecting Tones By Category (TONE CATEGORY)
Selecting Tones by Specifying the Group and Number
The two methods of selecting Tones shown above are used to change Tones
while a single Part is selected.
Here, lets select a Tone easily by switching Parts.
fig.Q-21
Press PART [
]/[
] and select one of the Parts 116.
fig.Q-22
When you want to perform in ensemble using multiple parts

Recording to an External Sequencer (p. 124)
Enjoying Computer Music (p. 126)
When you want to know how to switch Parts with Key Mode set to Split
or Dual
Changing the Two Parts Being Used (p. 39)
28
By selecting a Tone (p. 23,

26) or Drum Set (p. 29, 30)
after selecting a Part, you
can then switch the Tone or
Drum Set for that Part.
Playing the Sounds
Playing Percussion Instruments

(Drum Sets)
The RS-5/9 contains Drum Sets that allow you to play different percussion
instruments or sound effects from each key of the keyboard.
Changing a Drum Set

Factory settings have a Drum Set assigned to Part 10, so you can
immediately use the keyboard to play percussion instrument sounds by
pressing PART [
]/[
] to select Part 10.
Here, lets select Part 10 and learn how to switch Drum Sets.
fig.Q-23
1
2
Press [PERFORM/TONE] to call up the Tone/Drum Set

selection screen.
Press PART [
]/[
] to select Part 10.
fig.Q-24exp
Drum Set
selection screen
Part
Drum Set
Name
Should PERFORM be
[PERFORM/TONE] once
more, and the Tone/Drum
Set selection screen is
displayed.
Playing the Sounds
Category
Drum Set Number

Drum Set Group
Press VALUE [-]/[+] to switch the Drum Set.
29
Playing the Sounds
Selecting Drum Sets by Specifying the Group and Number

Just as are Tones, Drum Sets are separated into two groups. You can also
select Drum Sets by specifying the group and number.
User
Two Drum Sets can be stored here. You can overwrite these, replacing them
with Drum Sets you create (p. 113).
Preset
This area holds twenty Drum Sets; these cannot be overwritten or replaced.
However, you can change the settings of a currently selected Drum Set, and
then store those settings in User memory.
111 are the RS-5/9s original Drum Sets.
Drum Sets 1220 provide compliance with GM2.
fig.Q-24a
13 2
1
2
Press [PERFORM/TONE] to call up the Tone/Drum Set

selection screen.

The following screen appears.
Should PERFORM be
[PERFORM/TONE] once
more, and the Tone/Drum
Set selection screen is
displayed.
fig.Q-25exp
Drum Set
selection screen
Drum Set Number
Drum Set
Name
Part
Drum Set
Number
Drum Set
Group
3
4
30
Press [USER/PRESET] to select the group (User or Preset).
Press the numeric keys ([1][0]) to specify the Drum Set

number (USER: 1, 2, Preset: 120).

the number once again.
Playing the Sounds
Playing a Drum Set in a Part Other Than Part 10

Drum Sets by pressing
VALUE [-]/[+].
You can also Play Drum Sets in Parts other than Part 10.
fig.Q-26
2,6 4
Use VALUE [-]/[+] to select Performance Part.
Press [ENTER].
4
5
Press PART [
]/[
Set is to be assigned.
] to select the Part to which the Drum
5 1,7 3
Separate Tone Type

settings can be made for
each individual Part in a
Performance (p. 56).
When Key Mode (p. 34) is

set to Split or Dual, you can
select only the Upper Part
and the Lower Part.
Press [5] a number of times to select Tone Type.

6
7
Press VALUE [-]/[+] to select DRUM1 or DRUM2.
Press [EDIT].
If you wish to make

settings for other Parts,
repeat steps 46.
If you want to go from
Drum Sets back to
regular Tones, press
TONE in Step 6.
31
Playing the Sounds
fig.Q-27
Playing the Sounds
Notes when selecting a Drum Set

Whether a Tone or a Drum Set is played in any Part is determined with the
selection of TONE, DRUM1, or DRUM2 in the Tone Type setting as described
in Step 6 of Playing a Drum Set in a Part Other Than Part 10 (p. 31).
Up to 2 Drum Sets can be assigned to the Parts. The same Drum Set will be
selected for each Part whose Tone Type is set to DRUM1. The same is true
for a setting of DRUM2.
Example:
DRUM1 has been specified for Parts 1 and 2, and the STANDARD Drum Set
is selected. In this situation if you change Part 1 from STANDARD to
ELECTRONIC, Part 2 will automatically be set to ELECTRONIC.
fig.Q-28
Part 1
Tone Type: DRUM1
STANDARD
ELECTORONIC
Part 2
Tone Type: DRUM1
STANDARD
ELECTORONIC
Part 3
Tone Type: DRUM2
POWER
Part 4
Tone Type: Tone
Piano1
Part 16
Tone Type: Tone
Strings
When you want to play a percussion instrument assigned to a key

outside the key range
Transposing All the Parts (TRANSPOSE ON/OFF) (p. 48)
When you want to know a Drum Sets name and number
Drum Set List (p. 151)
To create your own Drum Sets
Creating a Drum Set (p. 112)
When you want to store a Drum Set you have created to User memory
When you want to switch Drum Sets from an external MIDI device
Selecting RS-5/9 Sounds from an External MIDI Device (p. 123)
32
Playing the Sounds
Trying out tones (PHRASE PREVIEW)

You can check out Tones using specially prepared phrases in each Tone
Category.
fig.Q-29
Select a Tone or Drum Set (p. 23, 26, 29, 30).
Press and hold [PHRASE PREVIEW].
Release your finger from [PHRASE PREVIEW], and the phrase

will stop playing.
The selected Tone or Drum

Set plays when Key Mode
(p. 34) is set to Split or
Dual.
Tone and Drum Set

categories are set; they
cannot be modified.
Playing the Sounds
33
Playing Two Tones on the Keyboard

The setting that determines whether one or two Tones are played by a key
is referred to as Key Mode. There are three Key modes.
Single: The same Tone is played by all keys on the keyboard. This is the
normal playing mode.
Split:
One key acts as the division point (the split point) separating the
keyboard into left- and right-hand sides, with a different Tone
played in each.
Dual:
Two Tones can be layered together.
Different Key Mode

each individual
Performance.
Dividing the Keyboard into Separate Ranges

and Playing Different Tones in Each (SPLIT)
fig.Q-30
1,2
Press [SPLIT], getting the indicator to light.

Try fingering the keyboard.
fig.Q-31exp
Tone selection
screen
Current Part
Tone Name
Category
Tone Group
Tone Number
In some Preset
Performances, Key Mode is
set to Split or Dual
(Performance List, p. 147).
Try switching
Performances (p. 56) and
listening to the various
combinations of tones.
Upper Part
Lower Part
In Split, two Parts are used. These are referred to as the Upper Part and
the Lower Part. The tone data for the currently selected parts appears in
the display.
The above figure shows an example where Part 1 is used for the Upper Part,
and Part 16 is used for the Lower Part.
The split point is set to C4 at the factory. The upper range of the keyboard,
including C4, plays the tone in the Upper Part, and the Lower Part Tone is
played in the range below C4.
34
The key used as the split

point plays the Tone in the
Upper Part.
fig.Q-32
C4 (Split Point)
Lower
Upper
If you press [SPLIT] once more, the indicator light goes out,
and the keyboard returns to the normal performance mode
(Single).
When you want to switch Tones

When you want to change the Parts used for the Upper and Lower
Parts
When you want to change the key dividing the keyboard into two
ranges
Changing the Split Point (p. 40)
35
Playing two Tones from the keyboard

(DUAL)
fig.Q-33
1,2
Press [DUAL], getting the indicator to light.

Try fingering the keyboard.
fig.Q-31exp
Tone selection
screen
Current Part
Tone Name
Category
Tone Group
Tone Number
Upper Part
Lower Part
Just as in Split mode, two Parts are used.

The Tones selected for the Upper Part and Lower Part are played together
when a key is pressed.
If you press [DUAL] once more, the indicator light goes out,
and the keyboard returns to the normal performance mode
(Single).
When you want to switch Tones

When you want to change the Parts used for the Upper and Lower
Parts
36
Selecting Tones and Drum Sets

Use the following procedure to switch Tones when Key Mode is set to Split
or Dual.
Selecting Tones By Category (TONE CATEGORY)

fig.Q-35
Make sure that the [TONE CATEGORY] indicator is lit.

If the [TONE CATEGORY] indicator is not lit, press [TONE CATEGORY]
once more.
Press PART [
]/[
] to move the cursor to the Part whose
Tone or Drum Set you want to switch.
fig.Q-36exp
Current Part
Upper Part
Lower Part
The above figure is an example where the Upper Part is selected.
3
4
Press the numeric keys ([1][0]) a number of times until you

can select the Category you want.
With Drum Sets, Step 3 is

not required.
Press VALUE [-]/[+] to select a Tone or Drum Set in the

currently selected Category.
37
Selecting Categories from the Full List

In Step 3, if you hold down [TONE CATEGORY] and press a numerical key
([1][0]), the Category selection screen is displayed.
The indicator will begin blinking, instead of lighting steadily.
fig.Q-17
Press the numeric keys ([1][0]) a number of times, or press VALUE [-]/[+],
to select the Category.
Pressing [TONE CATEGORY] or [EXIT] returns you to the original screen
(the screen displayed in Step 2).
The indicator changes from blinking to lit.
Selecting Tones by Specifying the Group and

Number
fig.Q-37
1
2
Press PART [
]/[
] to move the cursor to the Part whose
Tone or Drum Set you want to switch.
fig.Q-38exp
Current Part
Upper Part
Lower Part
The above figure is an example where the Upper Part is selected.
38
4
5
Press [USER/PRESET] to select the group (User, Preset).
Press the numeric keys ([1][0]) to specify the Tone or Drum

Set number.

The Tone number or Drum Set number appears in the display.


Tones by pressing VALUE
[-]/[+].
Changing the Two Parts Being Used

Two Parts (Upper and Lower) are used when Key Mode is set to Split or
Dual. You can select which of the 16 Parts will be the Upper Part and which
will be the Lower Part.
These settings can be made

for each Performance (p. 56)
individually.
fig.Q-39
Use VALUE [-]/[+] to select Tone/Drum/PFMCommon.
Press [ENTER].
1 3
39
fig.Q-39a
Press [9] a number of times to select Upper Part or Lower

Part.
fig.Q-40
Press VALUE [-]/[+] to select the value (116).
Press [EDIT].

Which Part Is Used in Single Mode?

When Key Mode is set to Single, the Upper Part is used.
Therefore, take care not to press PART [
]/[
] and switch the Part
while in Single Mode, or the Upper Part value will be overwritten.
Changing the Split Point

When Key Mode is set to Split, you can set the key that divides the keyboard
into two separate ranges anywhere from C2 to C#7.
The split point can be set
individually for each
fig.Q-32
C4 (Split Point)
Lower
40
Upper
2,5
Press [ENTER].
fig.Q-42
1,6 3
Press [9] a number of times to select Split Point.

fig.Q-43

Press VALUE [-]/[+] to select the value (C-1G9).
Press [EDIT].
A quick way to change the Split Point

If you hold down [SPLIT] and press [EDIT], you can select the Split Point
screen directly. Make settings as explained in steps 56 of the above
procedure.
Also, if you want be able to change the split point quickly, by holding down
[SPLIT] and pressing VALUE [-]/[+], you can change only the Split Point
setting. When you release [SPLIT], the previous display will reappear.
41
Using the Convenient Functions in Performances

This section explains how to utilize the different functions that are often
used in performances.
Creating Arpeggios from the Chords

You Play (ARPEGGIO ON/OFF)
Just by playing a chord, you can play an arpeggio (a chord that is played one
note at a time) using the notes making up that chord.
You can play arpeggios in all key ranges when Key Mode is set to Single or
Dual.
When Key Mode is set to Split, you can play arpeggios in the Lower range.
For instructions on making

detailed settings, refer to
the reference pages in the
column.
Arpeggios can be produced

only by playing the RS-5/
9s keyboard. Arpeggios
cannot be played using
Note messages that arrive
at the MIDI IN connector.
fig.Q-44
1,3
1
2
Press [ARPEGGIO ON/OFF], getting the indicator to light.
Press the key as shown in the figure below.

fig.Q-45
E3
C3 G3
C3 E3 G3 E3 C3 E3 G3 E3
The arpeggio is played with the sequence of notes, C3, E3, G3, E3, C3, E3,
G3, E3, and so on.
Try playing some other chords, too.
42
If you press [ARPEGGIO ON/OFF] once more, the indicator

light goes out, and the keyboard returns to the normal
performance mode.
Arpeggio data is output

from the MIDI OUT
connector.
The arpeggio On/Off
setting can be made
Continuing Arpeggios Without Having To Hold Down the Key

Hold down the [SHIFT] button and press [ARPEGGIO ON/OFF]. The
[ARPEGGIO ON/OFF] indicator starts blinking, and you can then have the
arpeggio be played without having to continue pressing the chord. To cancel
Arpeggio Hold, hold down [SHIFT] and press [ARPEGGIO ON/OFF] once
more.
Note also that if a pedal switch (such as the optional DP-2/6), or a foot
switch (such as the optional BOSS FS-5U) is connected to the PEDAL HOLD
jack, you can have arpeggios be played if you depress the pedal while
pressing chords. In this way, you can play arpeggios without having to
continue pressing the chord.
When you want to know more about the arpeggio settings

Chapter 5. Using the arpeggiator (p. 75)
43
Using Multi-effects, Chorus, and Reverb

The RS-5/9 provides three independent internal effect channels.
Multi-Effect
This channel can provide 42 different effects, including distortion and rotary
effects.
The On/Off settings for
each Effect affect the RS-5/
9 as a whole (i.e., are
system settings). This
setting remains stored in
memory even while the
power is off.
Chorus
This channel adds depth and dimension to sounds.
Reverb
This channel creates an artificial ambience around the sound.
Turning the Effects On and Off (EFFECTS ON/OFF)

When shipped from the factory, all three effects are set to ON.
fig.Q-47
2,4,6
Press [EFFECTS ON/OFF] to make the indicator blink.

The Multi-effects On/Off settings screen appears in the display.
fig.Q-48
Press VALUE [-]/[+] to turn the effect on or off.
Press [EFFECTS ON/OFF].

Next, the Chorus On/Off settings screen appears in the display.
fig.Q-49
44
1,3,5,7
Press [EFFECTS ON/OFF].

Then the Reverb On/Off settings screen appears in the display.
fig.Q-50
You can return to the

original screen during
the operation by pressing
[EXIT].
Press [EFFECTS ON/OFF] to return to the original screen.
If all three effects are

turned off, the
[EFFECTS ON/OFF]
indicator light goes out.
The [EFFECTS ON/OFF] indicator lights up whenever any of the three

effects is on.
When Using Multi-effects in Split or Dual Mode

The RS-5/9 cannot use more than one multi-effect at a time. Therefore, there
is a Source parameter which is used for selecting the multi-effect settings.
Settings Values
UPPER:
The Upper Tones multi-effect settings are used. The

multi-effect is applied only to the Upper Part.
LOWER:
The Lower Tones multi-effect settings are used. The

multi-effect is applied only to the Lower Part.
PERFORMANCE: The Performances multi-effect settings are used. The

same multi-effect is applied to all Parts (116).
Thus, you should note that depending on the Source setting, some Parts
may not have multi-effects applied while in Split or Dual mode.
For more detailed information, refer to Making Multi-Effects Settings (p. 80).
45
Setting the Amount of Chorus and Reverb

fig.Q-51
3,7 5
Press [ENTER].
Press PART [
]/[
] to select the Part for which the
amount of effect is to be set.
If setting the chorus, press [7]; if setting the reverb, press [8].
fig.Q-52
Use VALUE [-]/[+] to select the value (1127).
Press [EDIT].
46
2,8 4
Set the chorus or reverb to ON (refer to previous section).
Separate settings for the

amount of chorus and
reverb applied can be made
for each individual Part in
a Performance (p. 56).
When Key Mode (p. 34)

is set to Split or Dual, you
can select only the Upper
Part and the Lower Part.
Note that even if the
chorus or reverb is set to
ON, no effect is applied if
each Send Level is set to 0.
If you wish to make

repeat steps 57.
Changing the Multi-effect Type

Heres how to select the desired one of the 42 different Multi-effect settings.
fig.Q-53
3,6
2,7 4
Set Multi-effects to ON (p. 44).
Press [ENTER].
Press [6] a number of times to select Type.
You can set the Multi-Effects

Type for each Tone or
Performance (p. 56)
individually with the Source
setting.
fig.Q-54
The figure above shows Source set to UPPER. You can see which multieffects settings are being used in the upper left of the display.
6
7

Press VALUE [-]/[+] to select the type.
Press [EDIT].
When set to
00:THROUGH, the
multi-effects are then not
applied.
When you want to know about the Multi-effects in greater detail

Chapter 6. Effect Settings (p. 79)
47
Transposing All the Parts (TRANSPOSE ON/OFF)

This function moves the key range in half-step units. This is convenient in
situations like the ones below.
When matching the vocalists register

Sometimes melodies may extend outside a vocalists register. Therefore, if
you want to perform with the song changed to a different key, you can play
the song in a new key while still using the same fingering as before.
When changing from a difficult key to one that is easy to play

You can use simple fingerings to play difficult songs that include numerous
sharps or flats.
When playing with the tone of a transposed instrument

You can play the tones of a transposed instrument just as it is written in the score.
When Playing sounds outside the keyboards range

While the RS-5 features a 61-key keyboard, with some songs you may want
to play notes even higher or lower. Also, when playing a Drum Set etc., there
may be percussion instruments that the RS-5/9s keyboard is not able to
access. In such cases, you can use the Transpose function to play these notes.
The Transpose On/Off

settings can be set
fig.Q-55
1,2
Press [TRANSPOSE ON/OFF] to light indicator.

Transpose is set at the factory to play notes at one octave below what is played.
If you press [TRANSPOSE ON/OFF] once more, the indicator

light goes out, and the keyboard returns to the normal
performance mode.
Setting the Amount of Transposition

You can set the amount of transposition that is to occur when Transpose is
switched on. The setting is made in semitone units, and can specify a rise or
lowering of up to three octaves.
48
The settings for the amount

of transposition can be set
fig.Q-56
2,5
Press [ENTER].
1,6 3
Note messages from MIDI

IN connector will not be
transposed.
Press [9] a number of times to select Transpose.

fig.Q-57

Press VALUE [-]/[+] to select the value (-36 to +36).
Press [EDIT].
An easy way to set Transpose

You can select the Transpose screen directly by holding down
[TRANSPOSE ON/OFF] and pressing [EDIT]. Make settings as explained in
steps 56 of the above procedure.
Furthermore, to change the transposition even more rapidly, you can change
only the Transpose setting by holding down [TRANSPOSE ON/OFF] and
pressing VALUE [-]/[+]. When you release [TRANSPOSE ON/OFF], the
previous display will reappear.
When you want to transpose a specific Part

Transposing a Specified Part (Key Shift) (p. 69)
49
Changing the Sounds Pitch in Real

Time (Pitch Bend Lever)
The height of a sound is called pitch.
While playing the keyboard, move the lever to the left to lower the pitch, or
to the right to raise the pitch.
When shipped from the factory, this is set so that the pitch is changed up or
down one whole step.
Pitch Bend is not applied to

arpeggios.
fig.Q-58exp
Pitch Bend
You can set up to a two-octave pitch bend range, adjustable in half-steps.

fig.Q-59
2,6 4
Press [ENTER].
4
5
Press PART [
]/[
] to select the Part for which the pitch
bend is to be changed.
5 1,7 3
When Key Mode (p. 34) is

set to Split or Dual, you can
select only two Parts, the
Upper Part and the Lower
Part.
Press [5] a number of times to select Pitch Bend Range.

fig.Q-60
50
The pitch bend range

each individual Part in a

6
7
Press VALUE [-]/[+] to select the value (0 to +24).
With a setting of 0, there

will be no pitch bend effect.
Press [EDIT].
If you wish to make

repeat steps 46.
While playing the keyboard, move the lever away from you to add a vibrato
effect.
fig.Q-61exp
The effect is applied to both

the Upper Part and Lower
Part when Key Mode is set
to Split and Dual.
Modulation
When you want to use the Modulation Lever to add effects other than
vibrato
Using the Modulation Lever to modify the sound (p. 71)
51
Adding a Vibrato Effect to the Sound

(Modulation Lever)
Changing the Tone with the Knobs

Using the six panel knobs, you can change the tone in real time.
When a knob is turned, the function assigned to the knob and its value
appear temporarily in the display.
fig.Q-62
The effect is applied to both

the Upper Part and Lower
Part when Key Mode is set
to Split and Dual.
Vibrato and Wah Effects (LFO)

The LFO, short for low frequency oscillator, makes changes to the sound
in periodic fashion. Changing the pitch with the LFO produces the vibrato
effect, and by changing the filter cutoff frequency with the LFO, you get
what is called the wah effect.
fig.Q-63
3,6 2,5 1,4
Confirm that the FILTER [LFO ON/OFF] is set to OFF.

When [LFO ON/OFF] is set to OFF, you can use the LFO 2 knob to change
the vibrato effect.
Turn the LFO DEPTH knob.

Turning this to the right increases the depth of the undulating sound, while
turning it to the left makes the undulation shallower and milder.
Turn the LFO RATE knob.

Turning this to the right (clockwise) increases the speed of the undulating
sound, while turning it to the left (counterclockwise) slows the undulation
down.
Press FILTER [LFO ON/OFF], causing the indicator to light up.

When [LFO ON/OFF] is set to ON, you can use the LFO 2 knob to change
the vibrato effect.
52
If this is set to ON, press

[LFO ON/OFF] once more
to switch it off.
Turn the LFO DEPTH knob.

Turning this to the right increases the depth of the undulating sound, while
turning it to the left makes the undulation shallower and milder.
Turn the LFO RATE knob.

Turning this to the right (clockwise) increases the speed of the undulating
sound, while turning it to the left (counterclockwise) slows the undulation
down.
53
Changing the sounds volume (ENVELOPE)

The volume continues to change from the time a key is pressed to when it is
released.
A: Attack Time:The time it takes after the key is pressed for a sound to reach
full volume.
R: Release Time:The time it takes after the key is released for a sound to
become inaudible.
Use the ENVELOPE 2 knob to change the A and R times.
fig.Q-64
A: Attack time
D: Decay time
R: Release time Sound ends
Volume
Sustain
Level
A
Note-on
Time
Note-off
fig.Q-65
Turn the ENVELOPE ATTACK knob.

Turning this to the right (clockwise) increases the time it takes for the sound
to rise, while turning it to the left (counterclockwise) shortens this time.
Turn the ENVELOPE RELEASE knob.

Turning this to the right increases the time it takes for the sound to
disappear, while turning it to the left shortens this time.
54
Changing the Brightness of the Sound and Adding

Special Qualities (FILTER)
You can change the brightness of the sound and give the sound peculiar
characteristics using the FILTER 2 knob.
fig.Q-66
Turn the FILTER CUTOFF knob.

Turning this to the right (clockwise) brightens the sound, while turning it to
the left (counterclockwise) makes the sound seem darker.
Turn the FILTER RESONANCE knob.

Turning this to the right makes the special quality of the sound stronger,
while turning it to the left reduces these characteristics.
[MANUAL] and [ARPEGGIO/CONTROL] Functions

When [ARPEGGIO/CONTROL] is set to ON, you then become able to
control another parameter using the LFO ENVELOPE 4 knob (p. 74). Whats
more, when [ARPEGGIO ON/OFF] is set to ON, and [ARPEGGIO/
CONTROL] is flashing, you can use the four knobs to change the arpeggio
settings in real time (p. 74).
When you press [MANUAL], the parameters assigned to the six knobs are
set to the values at the current knob positions (p. 74).
When you want to know about changing the tone in real time in greater
detail
Chapter 4. Changing Tones in Real Time (p. 71)
55
Changing the RS-5/9s Settings All At

Once (Selecting Performances)
The group of Tones and Drum Sets assigned to the sixteen Parts is known as
a Performance.
fig.Q-67exp
Performance
Part 16
Part 1
Tone/
Drum Set
You can record the Tone numbers assigned to Parts as well as the Key Mode,
Arpeggio, Transpose, and other settings to the Performance.
If you store a group of settings in a Performance, you can then call up those
settings instantly by simply selecting that Performance.
Performances, just like Tones, are divided into two groups.
User
Although this area comes provided with 128 prepared Performances, you
can overwrite these with Performances that you create.
Preset
This area holds 128 prepared Performances; these cannot be overwritten or
replaced. But you can call up preset Performance settings into the
temporary area, modify them, and then store them in user memory.
fig.Q-68
12
56
Press [PERFORM/TONE] to call up the Performance selection

screen.
When in Single Mode
fig.Q-69exp
Performance selection screen
Performance Name
Part
Performance Number
If PERFORM does not

appear in the display, press
[PERFORM/TONE] once
more to switch to the
Performance selection
screen.
Performance Number
Performance Group
When in Split or Dual Mode

fig.Q-70exp
Current Part
Performance
selection screen
Performance Name
Performance
Number
Performance Group
Performance Number
2
3
4
Upper Part
Lower Part
Press [USER/PRESET] to select the group (User, Preset).
Press the numeric keys ([1][0]) to specify the Performance

number (1128).

When you want to know a Performances name and number

Performance List (p. 147)

Performances by pressing
VALUE [-]/[+].
When you want to know what settings can be stored in a Performance

Parameter List (Performance) (p. 137)
When you want to store a Performance you have created to User
memory
57
Easily Selecting the Performances You

Like (FAVORITE PERFORM BANK)
You can call up your favorite Performances merely by pressing a single
button.
Use Performances after registering them to the FAVORITE PERFORM
BANK buttons below the display.
Registering Performances
Although the RS-5/9 comes with Performances already registered to the
FAVORITE PERFORM BANK, you can change these to your own favorite
Performances.
fig.Q-71
1
2
Select a Performance that you want to register (refer to

previous section).
Hold down [SHIFT] and press one of the FAVORITE

PERFORM BANK buttons [1][8].
The Performance is registered, and Completed appears in the display.
The indicator on the button that was pressed lights up.
58
The FAVORITE PERFORM

BANK settings apply to the
RS-5/9 as a whole (i.e., are
system settings). This
setting remains stored in
memory even while the
power is off.
If the Performance is Not Saved

After selecting a Performance, if you change the Performances settings and
carry out Step 2 without saving these changes, the RS-5/9 jumps to the Save
screen.
fig.Q-72
3. Press the numeric keys ([1][0]) to specify the Save destination number
(1128).
4. Press [ENTER] to confirm the number.

and 4, you can also specify
the number by pressing
VALUE [-]/[+].
The Performance is saved while the Performance group and number are
registered to the button at the same time.

the number once again.
5. Press [ENTER] once more to execute the save.

The Performance is saved, and Completed appears in the display.
The Performance is saved while the Performance group and number are
registered to the button at the same time.
To cancel a save or
registration in progress,
press [EXIT].
Easily Selecting Performances
Press one of the FAVORITE PERFORM BANK buttons [1][8],

causing the buttons indicator to light up.
The Performance registered to the button that is pressed is called up.
59
Instantly Switching to Piano Mode

You can get the perfect settings for piano performances with the press of a
single button.
fig.Q-73
Press [PIANO], getting the indicator to light.

The most suitable Performance for performing on the piano (Preset:127) is
called up.
60
This feature is included

only with the RS-9. It is not
available with the RS-5.
When [PIANO] is pressed,

you cannot change the
Performance that is called
up.
Chapter 11
Chapter 10
Chapter 9
Chapter 8
Chapter 7
Chapter 6
Chapter 5
Chapter 4
Chapter 3
Advanced Use
61
Chapter 2
Chapter 1
Chapter 1. An overview of the RS-5/9

Basic Organization of the
RS-5/9
The RS-5/9 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.
fig.R01-01exp
Sound
Generator
Section
Drum Set
Drum sets are groups of a number of different percussion
instrument sounds. 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. It is, however,
more important that as many percussion instruments as
possible be available to you at the same time. Therefore, the
Drum sets are set up so that you can get different sets of
percussion sounds by pressing different keys (note numbers).
Drum sets are also assigned to each part of a performance.
fig.R01-02exp
Drum Set
Play
Note Number 98 (D7)

Note Number 97 (C#7)
Note Number 36 (C2)
Keyboard Controller Section (controllers

such as keyboard, pitch bend lever, etc.)
Note Number 35 (B1)
Percussion instrument sound
Keyboard Controller Section

This section includes the keyboard, the Pitch Bend/
Modulation Lever, the panel knobs, and any pedal connected
to the rear panel. Actions such as pressing and releasing of
keys on the keyboard, depressing a pedal, and so forth, are
converted to MIDI messages and sent to the sound generator
section, or to an external MIDI device.
Sound Generator Section

The sound generator section produces the sound. Here, MIDI
messages received from the keyboard controller section or
external MIDI device are converted to musical signals, which
are then output as analog signals from the OUTPUT and
PHONES jacks.
Classification of RS-5/9
Sound Types
Performance
A Performance is a collective set of assignments of the
sixteen different Tones and Drum Sets. In Performances you
can save whole collections of settings, including the tone
numbers assigned to each of the Parts, along with Key Mode,
Arpeggio, Transpose, and other settings.
Just like Tones, Performances are separated into two types, User and
Preset, with 128 User Performances and 128 Preset Performances.
A maximum of two Parts can be handled simultaneously
from the keyboard. Connecting an external sequencer allows
you to work with up to sixteen Parts simultaneously, which
lets you enjoy full ensemble performances.
fig.R01-03exp
Performance
Part 16
When using the RS-5/9, 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.
Tone
The individual sounds used when playing the RS-5/9 are
referred to as Tones. The 640 Tones stored in the RS-5/9s
memory are divided into two types, with the memory
containing 128 User Tones and 512 Preset Tones. Tones are
assigned to each part of a performance.
62
Part 1
Tone/
Drum Set
About Memory
Memory refers to the area where Tones and settings are
stored. The memory of the RS-5/9 is divided into three areas:
System Memory, User Memory, and Preset Memory.
As for System settings, changing these settings directly

affects the data in memory, so the data is always updated.
Therefore, you do not need to do anything to save this data.
There is a Temporary Area within memory, into which data

is placed when you select a tone or performance, and the
data in the temporary area is what you are actually playing
and editing.
System memory
System memory stores system setup settings that determine
how the RS-5/9 functions.
User Memory
The contents of User Memory can be overwritten, and are
used to store settings that you create. You can store 128
Tones and 128 Performances in the User Memory.
Preset Memory
The contents of Preset Memory cannot be rewritten. Preset
Memory contains 512 tones and 128 performances.
The temporary area

When you select a Tone or Performance, whether to play it,
or to change the settings, the selected Tone or Performance is
called up to a temporary holding memory called the
Temporary Area.
When a Performance is selected, the selected Performance is
called up to the Temporary Area, and then it is played.
When a tone is selected, the selected Tone is called up to the
Upper Part or Lower Part of the Performance in the
Temporary Area, and then that is played. A Performance is
called up to the Temporary Area at all times.
The Upper or Lower Parts may use any of the Parts 1 16.
When the Key Mode is set to Single, the Upper Part is used.
When Key Mode is set to Split or Dual, both the Upper and
Lower Parts are used.
The data in memory will be preserved even if the power is
turned off, and can be recalled at any time. However, the
data in the temporary area will be lost when the power is
turned off.
When changing Tone or Performance settings, you dont
directly change the settings stored in memory, but rather the
data called up to the Temporary Area. If you want to keep
the changed data in the Temporary Area, you must then save
that data to the User Memory.
63
Chapter 1
Maximum Polyphony
The sound source of the RS-5/9 can produce up to 64 notes
(voices) simultaneously. If data is received that attempts to
play more than this number of voices, notes will be dropped
out. When the number of requested voices exceeds 64, the
RS-5/9 will give priority to the later-played notes, and will
consecutively turn off the oldest sounding notes. An
appropriate Voice Reserve setting should be made with
respect to any Parts that you cannot do without.
* Some Tones use 2 voices to create a single Tone. For the
number of voices used by each Tone, refer to Tone List (p.
148).
Preventing notes of an important Part

from being cut off (Voice Reserve)
This setting specifies the number of voices that will be
reserved for each Part when more than 64 voices are played
simultaneously. For example if Voice Reserve is set to 6 for
Part 1, Part 1 will always have 6 notes of sound-producing
capacity available to it even if a total of more than 64 notes
(total for all Parts) are being requested.
You can make separate Voice Reserve settings for each
individual Part in a Performance.
1. Press [EDIT], getting the indicator to light.
2. Use VALUE [-]/[+] to select Performance Part.
Modifying the Value of a

Setting
To modify a value, use the VALUE [-]/[+] or [0][9] (numeric
keys).
fig.R01-05
VALUE [-]/[+]
Pressing VALUE [+] increases the value, and VALUE [-]
decreases it. Keep the button pressed for continuous
adjustment. For faster value increases, keep VALUE [+]
pressed down and press VALUE [-]. For decreasing value
faster, keep VALUE [-] pressed down and press VALUE [+].
In addition, by holding down [SHIFT] and pressing VALUE
[+] or [-], you can change the value ten units at a time.
[0][9] (Numeric Keys)

These allow you to specify the number directly when
selecting Tones, Drum Sets, or Performances. When you
enter the number, the number will blink. This indicates that
the number has not yet been finalized. To finalize the
number press the [ENTER] button.
3. Press [ENTER].
4. Press PART [
]/[
] to select the Part.
5. Press the numeric key [5] several times to select Voice

Reserve.
fig.R01-04exp
At least these many

Voices will sound
Remaining Voices
* If you hold down [SHIFT] and press [5], you will return to the
previous item.
6. Use VALUE [-]/[+] to set the value.
* It is not possible for the settings of all Parts to total more than
64. The remaining number of available voices will be displayed
at (). You should check this readout as you set the Voice
Reserve parameter.
* If you wish to make settings for other Parts, repeat steps 46.
7. Press [EDIT].
The [EDIT] indicator goes out, and you are returned to
the previous screen.
64
[EXIT]
Press this in situations such as when youve make a mistake
in pressing the numeric keys, when you want to cancel an
operation, or when you want to return to a previous screen
after settings have been made.
Convenient shortcuts
The RS-5/9 provides several convenient shortcuts.
* [**] + [##] means that you should hold down [**] and press
[##].
If Stuck Notes Occur

(PANIC)
If some operation causes sounds from the RS-5/9, or sounds
from an external sound generator connected with a MIDI
cable to fail to stop playing, use the Panic function.
Setting the Split Point (p. 40)

[SPLIT]+[EDIT]
The display will show the Split Point setting page.
[SPLIT] + VALUE [-]/[+]
The split point can be set. When you release [SPLIT], the
[ARPEGGIO ON/OFF]+[EDIT]
When Sounds From the RS-5/9

Do Not Stop Playing
The display will show the Arpeggio Style setting page.
1. Hold down [SHIFT] and press [PANIC].
Setting the Arpeggio (p. 77)
[ARPEGGIO ON/OFF] + VALUE [-]/[+]
Sounds from the RS-5/9 stop playing.
The arpeggio style can be set. When you release

[ARPEGGIO ON/OFF], the previous display will reappear.
The display will indicate Panic! Now Muting. while

the Panic function is being executed. When this message
goes off, you can start playing.
Setting the Transpose (p. 48)
fig.R01-06
[TRANSPOSE ON/OFF]+[EDIT]
The display will show the Transpose setting page.
[TRANSPOSE ON/OFF] + VALUE [-]/[+]
The transpose can be set. When you release
[TRANSPOSE ON/OFF], the previous display will reappear.
What to Do When an External Sound

Generator Fails to Stop Sounding
Setting the LCD Contrast (p. 16)
1. Hold down [SHIFT] and press [PANIC] for more than a

second.
[SHIFT]+[PHRASE PREVIEW]
The display will show the LCD Contrast setting page.
Send the MIDI messages All Sound Off, Reset All

Controllers, Hold1 (0), Hold2 (0), and Sostenuto (0) for
all MIDI channels (Parts).
The display will indicate Panic! Now Transmitting.
while the Panic function is being executed. When this
message goes off, you can start playing.
fig.R01-07
65
Chapter 1
Chapter 2. Part Volume and Pan Settings

You can make separate volume and pan (sound-image
localization) settings for each individual Part in a
Performance.
Level
Set the volume of each part. This is mainly used to achieve
the volume balance between Parts when Key Mode is set to
Split or Dual.
Value: 0127
Pan
When stereo output is used, this setting sets the pan position
(stereo location) of each Part. With an increase in the value
for L, more of the sound will be heard as coming from the left
side. Similarly, more of the sound will originate at the right if
the value of R is increased. When set to RANDOM, you
obtain a specialized effect whereby the sound randomly
moves left and right with each key stroke.
Value: RANDOM, L63063R
* In the case of a Drum Set, the pan position has been fixed for
each percussion instrument (p. 112). When setting the pan for
a Part to which a Drum Set is assigned, the panning of the
entire drum set is moved.
3. Press [ENTER].
4. Press PART [
]/[
5. Press the numeric key [3] several times to select the item
you wish to set.
fig.R02-01

7. Press [EDIT].
66
Chapter 3. Mastering Use of the Performance Features
This function is effective when performing a solo using

single-note Tone like sax and flute.
You can make separate Solo Switch settings for each
Portamento Time
When portamento is used, this specifies the time over which
the pitch will change. Higher settings will cause the pitch
change to the next note to take more time.
Value: 0127
* The Portamento Time setting is disabled when the Portamento
Switch is off.
3. Press [ENTER].
4. Press PART [
]/[
* When Key Mode (p. 34) is set to Split or Dual, you can select
only two Parts, the Upper Part and the Lower Part.
5. Press the numeric key [9] several times to select Solo
Switch.
fig.R03-01
Chapter 3
Playing single-note lines (Solo)
3. Press [ENTER].
4. Press PART [
]/[
you wish to set.
fig.R03-02
previous item.
6. Use VALUE [-]/[+] to set ON.
7. Press [EDIT].
previous item.
7. Press [EDIT].
Smoothly Changing the Pitch

of the Sound (Portamento)

Portamento is an effect which smoothly changes the pitch

from the first-played key to the next-played key. With the
Solo Switch (refer to the previous section) set to ON,
portamento is especially effective when simulating playing
techniques such as a violin glissandos.
Portamento can also be applied when Solo Switch is OFF.
You can make separate Portamento settings for each
Portamento SW (Portamento Switch)

Specifies whether the portamento effect will be applied (ON)
or not (OFF).
Value: OFF, ON
67
Determining the Volume

from the Force Used To Play
the Keys (Velocity Sense)
You can specify how your keyboard playing dynamics will
affect the volume.
You can make separate Velocity Sens settings for each
Velo Sens Depth (Velocity Sens Depth)

3. Press [ENTER].
4. Press PART [
]/[
you wish to set.
fig.R03-04
If this value is increased, small differences in your playing

dynamics will make a large difference in the loudness of the
sound. If this is decreased, even large differences in your
playing dynamics will make only a small difference in the
loudness of the sound.
Value: 0127
Velo Sens Offset (Velocity Sens Offset)

The higher above 64 the value is set, the louder the sound
produced, even as the keyboard is played with lesser force.
The lower below 64 the value is set, the lower the sound
produced, even as the keyboard is played with greater force.
Value: 0127
fig.R03-03exp
Velo Depth = 32, Velo Offset = 64

The actual sound level
Fig. 1
Fig. 2
Keyboard playing dynamics

Fig. 3
Fig. 4

Fig. 5
68
Fig. 6
previous item.
7. Press [EDIT].
The RS-5/9 has two functions, Transpose and Key

Shift, that you can use to move the key range of what is
being played in half-step units. The Transpose function
transposes all Parts, whereas Key Shift transposes only
specified Parts.
Transposing All Parts

(TRANSPOSE ON/OFF)
For instructions on setting Transpose, refer to Quick Start (p. 48).
Transposing a Specified Part

(Key Shift)
Adding Breadth to the Sound

by Layering Tones with
Different Pitches (Fine Tune)
When Tones with slightly different pitches are played
together, it creates a sound with more fullness and breadth.
When Key Mode is set to Dual (p. 36), and the same Tone is
assigned to both Parts (p. 37), make the Fine Tune setting for
only one of the Parts.
* The effect whereby sounds with slightly different pitches are
layered is called Detune.
You can make separate Fine Tune settings for each
This is convenient in situations such as the following.
Layering Tones an octave apart
3. Press [ENTER].
When the Keyboard Mode is Dual, you can create a richer

sound by setting the two Tones to different octaves.
4. Press PART [
Having only the Tone of a selected Part be

played at a lower pitch
If the Keyboard Mode is set to Split and you are playing a
bass Tone in the lower Part, you can use the Key Shift
function to play the bass at a lower pitch.
You can make separate Key Shift settings for each individual
Part in a Performance.
* Note messages from MIDI IN connector will also be transposed.
* This setting is disabled when the Drum Set is assigned to the Part.
5. Press the numeric key [4] several times to select Fine
Tune.
fig.R03-06
previous item.
6. Press VALUE [-]/[+] to select the value (-100 to +100).
* One cent is 1/100th of a semitone.
7. Press [EDIT].
3. Press [ENTER].
4. Press PART [
]/[
]/[
5. Press the numeric key [4] several times to select Key Shift.
fig.R03-05
previous item.
6. Press VALUE [-]/[+] to select the value (-24 +24).
7. Press [EDIT].
69
Chapter 3
Transposing Performances
Changing to Pure Temperament

or an Arabic scale (Scale Tune)

7. Press [EDIT].
What are Equal Temperament, Pure

Temperament, and Arabic scales?
Equal Temperament
This tuning divides the octave into 12 equal parts, and is the
most widely used method of temperament used in Western
music.
Pure Temperament
In comparison to Equal Temperament, Pure Temperament
allows the three principal chords to have a purer sound.
However, this effect is achieved only in one key, and the
triads will become ambiguous if you transpose.

Settings Example
Note
name
Equal
Temperament
Just Temperament
(tonic C)
Arabian
Scale
-6
C#
-8
+45
+4
-2
D#
+16
-12
-14
-51
-2
-8
F#
-10
+43
+2
-4
G#
+14
+47
Arabic Scale
-16
In comparison to Equal Temperament, E and B are 1/2 a

semitone low, and C#, F# and G# are 1/2 a semitone high.
The intervals of GB, CE, FG#, A#C# and D#F# are
neutral thirds (an interval midway between a major third
and a minor third).
A#
+14
-10
-12
-49
Making Scale Tune settings

You can adjust the Scale Tune settings to make a variety of
scales. These settings allow you to make fine adjustments in 1
cent (1/100th of a semitone) to the pitch of each note CB.
You can make separate Scale Tune settings for each
3. Press [ENTER].
4. Press PART [
]/[
5. Press numeric key [4] several times to select Scale Tune

C Scale Tune B.
fig.R03-07
previous item.
* You can press the key to directly select the name of the sound
whose pitch you want to change.
70
* In this example, the Arabic Scale can be played in the three

keys of G, C, and F.
Chapter 4. Changing Tones in Real Time

MOD (Modulation Assign)
Value
Tx CC# Function/Parameter Changed
MODULATION
CC01
Vibrato Effect
PORTAMENTO
TIME
CC05
Perform Part Portamento

Time (p. 67)
VOLUME
CC07
Perform Part Level (p. 66)
PAN
CC10
Perform Part Pan (p. 66)
EXPRESSION
CC11
Perform Part Level (p. 66)
PORTAMENTO
CC65
While playing the keyboard, move the lever to the left to

lower the pitch, or to the right to raise the pitch.
Perform Part Portamento

Switch (p. 67)
SOSTENUTO
CC66
For a more detailed explanation of the Pitch Bend lever, refer

to Quick Start (p. 50).
Holds the sound of the key

being pressed
SOFT
CC67
Softens the Tone
RESONANCE
CC71
Tone Filter Resonance (p. 110)
RELEASE TIME
CC72
Tone Envelope Release Time

(p. 110)
ATTACK TIME
CC73
Tone Envelope Attack Time

(p. 110)
CUTOFF
CC74
Tone Filter Cutoff (p. 110)
DECAY TIME
CC75
Tone Envelope Decay Time

(p. 110)
Using the Modulation Lever

to modify the sound
LFO RATE
CC76
Tone LFO Rate (p. 110)
LFO DEPTH
CC77
Tone LFO Depth (p. 110)
LFO DELAY
CC78
Tone LFO Delay (p. 110)
As set at the factory, moving the lever away from you as you
press a key on the keyboard produces a vibrato effect.
CHO SEND
LEVEL
CC93
Perform Part Chorus Send

Level (p. 108)
REV SEND LEVEL CC91
Perform Part Reverb Send

Level (p. 109)
UP-LO BALANCE CC07
Perform Part Upper and

Lower Levels (p. 66)
MFX
PARAMETER 1
CC12
Multi-Effects Parameter at
Marker #1 (p. 81)
MFX
PARAMETER 2
CC13
Multi-Effects Parameter at
Marker #2 (p. 81)
AFTERTOUCH
Changing the Pitch in

Realtime (Pitch Bend Lever)
fig.R04-01exp
Pitch Bend
You can add effects other than vibrato with the Modulation
lever.
fig.R04-02exp
Modulation
* This is applied to both the Upper Part and Lower Part when
Key Mode is set to Dual.
TxCC# refers to the controller number sent from the MIDI

OUT connector when the Modulation lever is moved. When
set to AFTERTOUCH, a Channel Aftertouch message is sent.
Receiving these controller numbers from the MIDI IN
connector gives the same effect as moving the Modulation
lever.
Set to AFTERTOUCH mainly when you want to control the
external sound generator with Aftertouch messages.
71
Chapter 4
You can use the RS-5/9s Pitch Bend lever, Modulation lever,
and control knobs to make changes to the Tones in real time.
You can also alter the Tones with a pedal connected to the
PEDAL jack.
* When set to MFX PARAMETER 1 or MFX PARAMETER

2, be sure to note the following.
When the multi-effects Type is set to 01: STEREO EQ (p.
82) or 41: LOFI (p. 106), Level is changed regardless of
whether MFX PARAMETER 1 or MFX PARAMETER 2 is
selected.
When the multi-effects Type is set to 22: 2VOICE PITCH
SHIFTER (p. 96), the two parameters are changed
simultaneously.
When the multi-effects Type is set to 23: FBK PITCH
SHIFTER (p. 97), the two parameters are changed
simultaneously when MFX PARAMETER 1 is selected.
he following describes which Part or Parts are enabled
according to the Source setting (p. 80).
UPPER
= Upper
LOWER
= Lower
PERFORMANCE = All Parts

* When making the LFO RATE, LFO DEPTH or LFO DELAY
settings, the effect achieved differs depending on whether [LFO
ON/OFF] is on or off. When [LFO ON/OFF] is off, the LFO
alters the pitch (vibrato effect). When [LFO ON/OFF] is on,
the LFO changes the Filter Cutoff frequency (wah effect).
Different Modulation lever settings can be made for each
individual Performance.
2. Use VALUE [-]/[+] to select Tone/Drum/
PFMCommon.
3. Press [ENTER].
4. Press the numeric key [5] several times to select MOD.
fig.R04-03
previous item.
6. Press [EDIT].
72
Using a pedal to modify the

sound
Switching the Pedals Polarity

(Pedal Polarity)
With an external pedal, such as an expression pedal (the

optional EV-5,) pedal switch (the optional DP-2/6) or foot
switch (the optional BOSS FS-5U) connected to the PEDAL
CONTROL jack, you can then use the pedal to make changes
in the Tone.
Select the polarity of the pedal. On some pedals, the electrical

signal output by the pedal when it is pressed or released is
the opposite of other pedals. If your pedal has an effect
opposite of what you expect, set this parameter to REVERSE.
If you are using a Roland pedal (that has no polarity switch),
set this parameter to STANDARD.
fig.R04-04
The Pedal Polarity setting affects the entire RS-5/9 (i.e., is a

System setting). This setting remains stored in memory even
while the power is off.
Chapter 4
Just as with the Modulation lever, you can select the function
affected when the pedal is pressed. The pedal will mainly be
used for changing volume levels (VOLUME, EXPRESSION,
and UP-LO BALANCE), sostenuto (SOSTENUTO), and as a
soft pedal (SOFT).
2. Use VALUE [-]/[+] to select System Setup.

3. Press [ENTER].
4. Press numeric key [5] several times to select the
parameter to be set.
Key Mode is set to Split and Dual.
For a description of the settings values, refer to (p. 71).
To make the settings, select the PEDAL (Control Pedal
Assign) in Step 4 above (p. 72).
If setting the polarity of the pedal connected to the

PEDAL HOLD jack, select CONTROL PEDAL
Polarity.
If setting the polarity of the pedal connected to the
PEDAL HOLD jack, select HOLD PEDAL Polarity.
fig.R04-06
fig.R04-05
* When you want to apply the effect that causes the sounds
being played to continue playing (called the hold effect),
connect a pedal switch (the optional DP-2/6) or foot switch
(the optional BOSS FS-5U) to the PEDAL HOLD jack. When
Arpeggio is on, this changes to an Arpeggio Hold function.
This allows you to play arpeggios without having to continue
holding chords. However, when the Key Mode is set to Split,
the Hold effect can be obtained with respect to what is played
in the upper part of the keyboard, while Arpeggio Hold will
apply to notes played in the lower part of the keyboard (p. 75).
previous item.
5. Press VALUE [-]/[+] to set the value (STANDARD,
REVERSE).
6. Press [EDIT].
73
Using a knob to modify the

sound
You can use the six panel knobs to modify Tones in real time.
Knob functions change depending on whether [ARPEGGIO/
CONTROL] and/or [ARPEGGIO ON/OFF] are switched on
or off.
fig.R04-07
When [ARPEGGIO/CONTROL] is On
Using the four LFO and ENVELOPE knobs, you can control
parameters that you select. The functions affected when the
knobs are turned can be set in the same manner as with the
Modulation lever.
For a description of the settings values, refer to (p. 71).
To make the settings, select one of the CONTROL 1
CONTROL 4 (Knob Assign) in Step 4 (p. 72).
fig.R04-09
* You can use the two FILTER panel knobs to change the
parameter values for the Tone appearing in the display.
* The effect is applied to both the Upper Part and Lower Part
when Key Mode is set to Split and Dual.
When a knob is turned, the function assigned to the knob
and its value appear temporarily in the display.
fig.R04-08
When [ARPEGGIO ON/OFF] is On

With [ARPEGGIO ON/OFF] set at ON, each press of
[ARPEGGIO/CONTROL] takes you to the next state for the
indicator, among three possible choices: lit, flashing, or
extinguished.
When [ARPEGGIO/CONTROL] is flashing, you can control
the Arpeggio parameters using the four LFO and
ENVELOPE knobs.
When [ARPEGGIO/CONTROL] is Off

The six knobs can be used to change the values of Tone
parameters, as indicated on the panel.
LFO RATE Knob:
Tone LFO Rate (p. 110)
LFO DEPTH Knob:
Tone LFO Depth (p. 110)
ENVELOPE ATTACK Knob: Tone Envelope Attack Time

(p. 110)
ENVELOPE RELEASE Knob: Tone Envelope Release Time
(p. 110)
FILTER CUTOFF Knob:
Tone Filter Cutoff (p. 110)
C1: Accent Rate (p. 77)

C2: Shuffle Rate (p. 77)
C3: Octave Range (p. 77)
C4: Tempo (p. 76)
* You can use the two FILTER panel knobs to change the
parameter values for the Tone appearing in the display.
Switching to the Value at the

Current Knob Positions (MANUAL)
fig.R04-10
FILTER RESONANCE Knob: Tone Filter Resonance (p. 110)

* The effect achieved with the two LFO knobs differs depending
on whether [LFO ON/OFF] is switched on or off. When [LFO
ON/OFF] is off, the LFO alters the pitch (vibrato effect). When
[LFO ON/OFF] is on, the LFO changes the Filter Cutoff
frequency (wah effect).
* Pressing [LFO ON/OFF] when Key Mode is set to Split or
Dual sets the same LFO Filter Sw value in both of the Part's
Tones.
When you press [MANUAL], the parameters assigned to the

six knobs are set to the values at the current knob positions.
Key Mode is set to Split and Dual.
74
Chapter 5. Using the arpeggiator
When the Key Mode is Single or Dual, arpeggios can be

played in all areas of the keyboard.
When the Key Mode is Split, chords played in the Lower area
of the keyboard will be sounded as arpeggios.
* Arpeggios can be produced only by playing the RS-5/9s
keyboard. It is not possible to produce arpeggios with Note
messages from the MIDI IN connector.
* Arpeggio data are transmitted from MIDI OUT connector.
Turning the Arpeggio Function

On and Off (ARPEGGIO ON/OFF)
You can set the Arpeggio ON/OFF for each Performance
separately.
1. Press the [ARPEGGIO ON/OFF] button, getting its
indicator to light.
However, if this alone does not produce the pattern you

want, try changing the settings for the four parameters
marked with an asterisk below (Motif, Beat Ptrn, Shuffle
Rate, and Accent Rate) to get the desired result.
Arpeggiator parameters you

can set
Style (Arpeggio Style)
Sets the style of the arpeggio. Select from the following 45
options. For creating your own style, choose LIMITLESS.
Value
1/4
The rhythm will be divided in quarter notes.
1/6
The rhythm will be divided in quarter note triplets.
1/8
The rhythm will be divided in eighth

notes.
1/12
The rhythm will be divided in eighth

note triplets.
1/16
The rhythm will be divided in 16th

notes.
1/32
The rhythm will be divided in 32nd

notes.
At ON, the keyboard in placed in Arpeggio mode.

2. Press the [ARPEGGIO ON/OFF] button again, getting its
indicator light to go out.
At OFF, the RS-5/9 operates in normal performance mode.
* Hold down the [SHIFT] button and press [ARPEGGIO ON/
OFF]. The [ARPEGGIO ON/OFF] indicator starts blinking,
and you can then have the arpeggio be played without having
to continue pressing the chord. To cancel Arpeggio Hold, hold
down [SHIFT] and press [ARPEGGIO ON/OFF] once more.
Note also that if a pedal switch (such as the optional DP-2/6),
or a foot switch (such as the optional BOSS FS-5U) is
connected to the PEDAL HOLD jack, you can have arpeggios
be played if you depress the pedal while pressing chords. In
this way, you can play arpeggios without having to continue
pressing the chord.
PORTAMENTO A, B A style using the portamento effect.
* Pitch Bend is not applied to arpeggios.
STRUM GTR UP,

Guitar chords strummed both up and
STRUM GTR DOWN, down. Effective when 56 notes are
STRUM GTR U&D
held.
GLISSANDO
A glissando style.
SEQUENCE AD
Styles for sequenced patterns.
ECHO
An echo-like style.
SYNTH BASS,
HEAVY SLAP,
LIGHT SLAP,
WALK BASS
Styles appropriate for bass playing.
RHYTHM GTR AE
Styles for guitar cutting. Styles BE

are effective when 34 notes are held.
3 FINGER GTR
Three-finger guitar style.
Tip for Creating Arpeggio Patterns
PIANO BACKING,
CLAVI CHORD
Styles for keyboard instrument backing.
There are a total of nine items that you can set to control
arpeggiation, but the Arpeggio Style is the most important.
The playback pattern of the arpeggio is determined mainly
by this selection.
WALTZ,
SWING WALTZ
Styles in triple meter.
REGGAE
A reggae-type style. Effective when 3

notes are held.
PERCUSSION
Style effective for percussive instruments.
HARP
The playing style of a harp.
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.
When you select an arpeggio style, the four parameters marked

by an asterisk (*) in the list below will be set automatically.
This allows you to call up the most appropriate pattern simply
by selecting the arpeggio style. After selecting the arpeggio
style, you can set Tempo and Octave Range etc. as appropriate.
Normally you will specify the pattern in this way.
75
Chapter 5
The RS-5/9s arpeggiator lets you produce an arpeggio

(broken chord) simply by playing a chord.
BOSSANOVA
A style with bossanova guitar cutting. Hold 34 notes for best results.
You can increase the tempo and use
this as a Samba.
SALSA
Typical salsa style. Hold 34 notes for

best results.
MAMBO
Typical mambo style. Hold 34 notes

for best results.
TRIPLE RANDOM
Notes you press will sound three at a

time, in random order.
NOTE ORDER
Notes will sound in the order that

they were pressed. Up to 128 notes
can be stored, so you can create melody lines by pressing keys in the appropriate order.
GLISSANDO
Notes will be played in an ascending

and descending chromatic scale between the lowest and the highest
keys that are pressed. Simply press
two notes, the lowest and highest.
LATIN PERC
A rhythm style with Latin percussion

instruments such as Clave, Cowbell,
Clap, Bongo, Conga, Agogo etc.
SAMBA
Typical samba style. Use for rhythm

patterns or bass lines.
CHORD
TANGO
Typical tango rhythm style. Hold the

root, 3rd and 5th of a triad etc. for
best results.
All notes that are pressed will sound

simultaneously.
BASS+CHORD 15
HOUSE
A style for house piano backing.

Hold 34 notes for best results.
The lowest of the notes you play will

sound, and the remaining notes will
sound as a chord.
BASS+UP 18
LIMITLESS
The settings of all parameters can be

freely combined without restriction.
The lowest of the notes you play will

be arpeggiated.
Motif *
BASS+RANDOM 13 The lowest of the notes you play will

sound in random order.
Sets the order in which notes of the chord will sound.
TOP+UP 16
The highest of the notes you play will

be arpeggiated.
BASS+UP+TOP
Simulated fingering of folk guitars

three-finger picking technique.
* Depending on the Style settings (p. 75), some choices may not
be available. For details on the possible values, refer to
Arpeggio Style List (p. 155).
Value
SINGLE UP
Notes you press will be sounded individually, beginning from low to

high.
SINGLE DOWN
Notes you press will be sounded individually, beginning from high to

low.
SINGLE
UP&DOWN
Notes you press will be sounded individually, from low to high, and
then back down from high to low.
SINGLE RANDOM
Notes you press will be sounded individually, in random order.
DUAL UP
Notes you press will be sounded two

at a time, beginning from low to high.
DUAL DOWN

at a time, beginning from high to low.
DUAL UP&DOWN

at a time, from low to high, and then
back down from high to low.
DUAL RANDOM

at a time, in random order.
TRIPLE UP

time, from low to high.
TRIPLE DOWN

time, from high to low.
TRIPLE UP&DOWN Notes you press will sound three at a

time, from low to high and then back
down from high to low.
76
Beat Ptrn (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).
* Depending on the Style settings (p. 75), some choices may not
be available. For details on the possible values, refer to
Arpeggio Style List (p. 155).
Value
1/4, 1/6, 1/8, 1/12, 1/16 13, 1/32 13, PORTA-A 0111,
PORTA-B 0115, SEQ-A 17, SEQ-B 15, SEQ-C 12,
SEQ-D 18, ECHO 13, MUTE 0116, STRUM18,
REGGAE12, REFRAIN12, PERC14, WALKBS, HARP,
BOUND, RANDOM, BOSSA NOVA, SALSA 14,
MAMBO 12, CLAVE, REV CLA, GUIRO, AGOGO,
SAMBA, TANGO 14, HOUSE 12
* When PORTA-A 01 11 and PORTA-B 01 15 are selected,
you can use Portamento time (p. 67) to control the portamento
attack. In this case, it is not necessary to have Portamento Sw
set to ON.
Tempo
Sets the speed of the arpeggio.
Value: 20250
* With Sync Source (p. 77) set to MIDI, Tempo (=MIDI)

appears in the display, and the RS-5/9 is synchronized to the
clock of the external MIDI device.
Octave Range
Sets the key range in octaves over which arpeggio will take
place. If you want the arpeggio to sound using only the notes
that you actually play, set this parameter to 0. To have the
arpeggio sound using the notes you play and notes 1 octave
higher, set this parameter to +1. A setting of -1 will make the
arpeggio sound using the notes you play and notes 1 octave
lower.
Value: -3 +3
Settings
INT:
The arpeggiator will be synchronized to the tempo of

the RS-5/9. Any MIDI Clock messages received from
an external device will be ignored.
MIDI: Arpeggiator tempo will be synchronized to the MIDI

Clock messages received from an external device. If
MIDI Clock messages are not being received from an
external device, the arpeggiator will not play.
* MIDI Clock is a message used to synchronize MIDI devices
connected by a MIDI cable. If the RS-5/9 is connected to a
MIDI device such as a sequencer, you can set the Sync Source
setting to MIDI so that the arpeggio will play in
synchronization with the sequencer playback. (About MIDI
p. 118)
This sets the velocity, or the force of the sound at the time a
key is played. If you wish to use the velocity at which the
notes are actually played, set this parameter to REAL. To use
a constant velocity regardless of the force with which you
play the keyboard, choose a desired value from 1127.
Creating a pattern
Value: REAL, 1127
Shuffle Rate *

PFMCommon.
This setting lets you modify the note timing to create shuffle
rhythms. With a setting of 50%, the notes will sound at equal
spacing. As this value is increased, the notes will become
more bouncy, as if they were dotted notes.
Chapter 5
Key Velocity
You can make separate Arpeggio settings for each

Performance.
3. Press [ENTER].
you wish to set.
fig.R05-02
Value: 5090%
fig.R05-01
Shuffle Rate = 50%
50
50
50
Shuffle Rate = 90%
50
90
10
90
10
* If the Beat Pattern (p. 76) is 1/4, there will be no shuffle effect
even if the Shuffle Rate value is increased.
previous item.
Accent Rate *
Modifies the strength of accents and the length of the notes to
adjust the groove feel of the arpeggio. A setting of 100%
will produce the most pronounced groove feel.
6. Press [EDIT].
Value: 0100%
To make Arpeggio settings easily
Sync Source
By holding down [ARPEGGIO ON/OFF] and pressing

[EDIT], you can select the Style display directly. Make
settings as explained in steps 46 of the above procedure.
This specifies how the tempo of the arpeggio will be

determined. Ordinarily, you should set this to INT. If you
wish to record arpeggios on your sequencer, or to
synchronize the arpeggiator to an external device for a live
performance, set this to MIDI.
Also, if you want be able to change the arpeggio style

quickly, by holding down [ARPEGGIO ON/OFF] and
pressing VALUE [-]/[+], you can change only the Style
setting. When you release [ARPEGGIO ON/OFF], the
77
Using the Knobs to Change

Patterns in Real Time
Using knobs C1 C4, you can change Patterns in real time.
1. Press the [ARPEGGOP ON/OFF] button, getting its
indicator to light.
Arpeggios can now be produced when chords are
played.
2. Press [ARPEGGIO/CONTROL] several times, getting its
indicator to start blinking.
* If the indicator lights, press [ARPEGGIO/CONTROL] again.
Using knobs C1 C4, you can change each of the
following parameter settings values in real time.
C1: Accent Rate (p. 77)
C2: Shuffle Rate (p. 77)
C3: Octave Range (p. 77)
C4: Tempo (p. 76)
When [ARPEGGIO ON/OFF] is set to ON, the

[ARPEGGIO/CONTROL] indicator switches each time
the button is pressed, cycling through lit, flashing, and
off.
When the indicator is off, you can change the LFO Rate,
LFO Depth, Envelope Attack, and Envelope Release in
real time (p. 74).
When the indicator is lit, you can change the parameter
you have set yourself in real time (p. 74).
78
Chapter 6. Effect Settings

The RS-5/9 contains three effects processors: multi-effects,
chorus, and reverb. Settings can be made separately for each
effects processor.
5. Press [EFFECTS ON/OFF].
There are 42 types of multi-effects, 8 types of chorus, and 8

types of reverb. You can use one of each type in a
Performance.
fig.Q-50
Next, the Reverb On/Off settings screen appears in the

display.
6. Press VALUE [-]/[+] to turn the effect on or off.
Turning the Effect Function On

and Off (EFFECTS ON/OFF)
In order to enable an effects processor (multi-effects, chorus,
reverb), turn its switch on.
Turn these settings off when you wish to listen to the
unprocessed sound as you create a sound, or when you wish
to use external effect devices instead of the built-in effects.
7. Press [EFFECTS ON/OFF] to return to the original

screen.
The [EFFECTS ON/OFF] indicator lights up whenever
any of the three effects is on.
* You can return to the original screen during the operation by
pressing [EXIT].
* If all three effects are turned off, the [EFFECTS ON/OFF]
indicator light goes out.
The On/Off settings for each Effect affect the RS-5/9 as a

whole (i.e., are system settings). This setting remains stored
in memory even while the power is off.
Chapter 6
When shipped from the factory, all three effects are set to ON.
1. Press [EFFECTS ON/OFF], getting its indicator to start

blinking.
The Multi-effects On/Off settings screen appears in the
display.
fig.Q-48

3. Press [EFFECTS ON/OFF].
Next, the Chorus On/Off settings screen appears in the
display.
fig.Q-49
79
The Effect Signal Path

The following figure shows the path followed by the effects signals.
fig.R06-01exp
Part Rev
Send Level
Reverb
OUTPUT
(R, L(MONO))
Cho Send
Level to Rev
Part Cho
Send Level
Tone
Drum Set
Chorus
Part M-FX
SW
M-FX Send
Level to Cho
M-FX Send
Level to Rev
Multi-FX
* You can make this setting only when Source is set to PERFORMANCE in the Parts MULTI-FX Switch setting. When Source is set to
UPPER or LOWER, the Upper or Lower Parts MULTI-FX SWITCH automatically goes on, and all other Parts are switched off.
Making Multi-Effects Settings
Make each of the settings according to the desired purpose,

as shown below.
You can use only one type of multi-effect in a Performance.
Set to UPPER:
Be sure to start by setting the Source (Multi-Effects

Source). Here, select the multi-effects settings to be used
based on the particular application or purpose.
Afterwards, select the type, then set each of the parameters
(p. 81).
You can select whether to have the multi-effects used (ON),
or not used (OFF) in each individual Part only when Source
is set to PERFORMANCE (p. 107).
When Key Mode is set to Single and you want to use the
tone to which multi-effects are applied.
When Key Mode is set to Split and you want to use the
tone to which multi-effects are applied in the Upper Part.
Set to LOWER:
When Key Mode is set to Split and you want to use the
tone to which multi-effects are applied in the Lower Part.
Set to PERFORMANCE:
Setting the Multi-Effects Source
When Key Mode is set to Split or Dual and you want to

add the same multi-effects to the tones in both Parts.
Select the multi-effects settings that are to be used based on

the particular application or purpose you have in mind.
If you do not want the multi-effects to change when

switching Tones or Drum Sets.
You can make different Multi-Effects Source setting for each

individual Performance.
Source (Multi-Effects Source)

PFMCommon.
3. Press [ENTER].
Value:
UPPER:
The Upper Tones multi-effect settings are used.

The multi-effect is applied only to the Upper Part.
4. Press [6] a number of times to select Source.

fig.R06-02
LOWER: The Lower Tones multi-effect settings are used.

The multi-effect is applied only to the Lower Part.
PERFORMANCE: The Performances multi-effect settings
are used. The same multi-effect is
applied to all Parts (116).
80
previous item.

Select the Type and Set Each

Parameter
There are 42 types of multi-effects. You can select any one of
these. After selecting the Type, you can change the values for
each of the parameters.
* When Source is set to UPPER or LOWER, the Type and
parameter settings are used as the settings for the Tone or
Drum Set assigned to that Part. When Source is set to
PERFORMANCE, these settings apply to the Performance.
PFMCommon.
3. Press [ENTER].
you wish to set.
fig.R06-03
04:
PHASER
(p. 84)
05:
SPECTRUM
(p. 84)
06:
ENHANCER
(p. 85)
07:
AUTO WAH
(p. 85)
08:
ROTARY
(p. 86)
09:
COMPRESSOR
(p. 87)
10:
LIMITER
(p. 87)
11:
HEXA-CHORUS
(p. 88)
12:
TREMOLO CHORUS
(p. 88)
13:
SPACE-D
(p. 89)
14:
STEREO CHORUS
(p. 89)
15:
STEREO FLANGER
(p. 90)
16:
STEP FLANGER
(p. 91)
17:
STEREO DELAY
(p. 92)
18:
MODULATION DELAY
(p. 93)
19:
TRIPLE TAP DELAY
(p. 94)
20:
QUADRUPLE TAP DELAY (p. 95)
21:
TIME CONTROL DELAY
22:
2VOICE PITCH SHIFTER
(p. 96)
23:
FBK PITCH SHIFTER
(p. 97)
24:
REVERB
(p. 98)
25:
GATED REVERB
(p. 99)
26:
OVERDRIVE CHORUS
(p. 99)
27:
OVERDRIVE FLANGER
(p. 100)
(p. 96)
28:
OVERDRIVE DELAY
(p. 100)
* What is indicated in the upper-left part of the display will

change depending on the value of the Source setting.
29:
DISTORTION CHORUS
(p. 101)
30:
DISTORTION FLANGER (p. 101)
previous item.
31:
DISTORTION DELAY
(p. 101)
32:
ENHANCER CHORUS
(p. 102)
33:
ENHANCER FLANGER
(p. 102)
34:
ENHANCER DELAY
(p. 103)
35:
CHORUS DELAY
(p. 103)
36:
FLANGER DELAY
(p. 104)
37:
CHORUS FLANGER
(p. 104)

6. Press [EDIT].
38:
CHORUS/DELAY
(p. 105)
Type (Multi-Effects Type)
39:
FLANGER/DELAY
(p. 105)
Selections are made from the following 42 different multieffects.
40:
CHORUS/FLANGER
(p. 105)
41:
LOFI
(p. 106)
Additionally, parameters for each of the multi-effects types

can be found on the following pages.
42:
SLICER
(p. 106)
Value:
00:
THROUGH
(p. 82)
01:
STEREO EQ
(p. 82)
02:
OVERDRIVE
(p. 83)
03:
DISTORTION
(p. 83)
Chapter 6
6. Press [EDIT].
* Values for parameters marked with #1 or #2 can be changed in

real time with the modulation lever or the knobs. For details,
refer to (p. 71).
81
Send Levl to Cho

(Multi-effect send level to chorus)
Sets the amount of the multi-effects sound that is sent to the
chorus. Higher values result in more sound being sent.
Value: 0127
* This parameter is included in all multi-effects types.
Send Levl to Rev

(Multi-effect send level to reverb)
Sets the amount of the multi-effects sound that is sent to the
reverb. Higher values result in more sound being sent.
Mid1 Q (Middle 1 Q)
This parameter adjusts the width of the area around the
Middle 1 Frequency that will be affected by the Gain setting.
Higher values of Q will result in a narrower area being
affected.
Value: 0.5, 1.0, 2.0, 4.0, 8.0
Mid1 Gain (Middle 1 Gain)

Adjust the gain for the area specified by the Middle 1
Frequency and Q settings.
Value: -15 +15 [dB]
Value: 0127
* This parameter is included in all multi-effects types.
Mid2 Freq (Middle 2 Frequency)

Adjust the frequency of Middle 2 (mid range).
00: THROUGH
Value: 2008000 [Hz]
Effects are not applied. Select when creating Tones or Drum

Sets that do not use multi-effects.
Mid2 Q (Middle 2 Q)
01: STEREO EQ (Stereo Equalizer)

This is a four-band stereo equalizer (low, mid x 2, high).
This parameter adjusts the width of the area around the

Middle 2 Frequency that will be affected by the Gain setting.
Higher values of Q will result in a narrower area being
affected.
Value: 0.5, 1.0, 2.0, 4.0, 8.0
fig.MFX-01
L in
4-Band EQ
L out
R in
4-Band EQ
R out
Low Freq (Low Frequency)
Mid2 Gain (Middle 2 Gain)

Adjust the gain for the area specified by the Middle 2
Frequency and Q settings.
Value: -15 +15 [dB]
Select the frequency of the low range (200 Hz/400 Hz).
Level (Output Level) #1, #2
Value: 200, 400 [Hz]
Adjust the output level.
Low Gain
Adjust the gain of the low frequency.
Value: -15 +15 [dB]
High Freq (High Frequency)

Select the frequency of the high range (4000 Hz/8000 Hz).
Value: 4000, 8000 [Hz]
High Gain
Adjust the gain of the high frequency.
Value: -15 +15 [dB]
Mid1 Freq (Middle 1 Frequency)

Adjust the frequency of Middle 1 (mid range).
Value: 2008000 [Hz]
82
Value: 0127
02: OVERDRIVE
03: DISTORTION
This effect creates a soft distortion similar to that produced

by vacuum tube amplifiers.
This effect produces a more intense distortion than

Overdrive.
fig.MFX-02
fig.MFX-03
L out
Over
drive
Amp
Simulator
2-Band
EQ
R in
L in
Pan L
L out
Distortion
Pan R
R out
Amp
Simulator
2-Band
EQ
R in
Pan L
Pan R
R out
Drive #1
Drive #1
Adjust the degree of distortion. The volume will change

together with the degree of distortion.
Adjust the degree of distortion. The volume will change

together with the degree of distortion.
Value: 0127
Value: 0127
Level (Output Level)
Value: 0127
Value: 0127
Low Gain
Low Gain
Adjust the gain of the low frequency range.
Value: -15 +15 [dB]
Value: -15 +15 [dB]
High Gain
High Gain
Adjust the gain of the high frequency range.
Value: -15 +15 [dB]
Value: -15 +15 [dB]
Amp Type (Amp Simulator Type)
Amp Type (Amp Simulator Type)
Select the type of guitar amp.
Select the type of guitar amp.
Value
Value
SMALL:
small amp
SMALL:
Chapter 6
L in
small amp
BUILT-IN: single-unit type amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
3-STACK: large triple stack amp
Pan (Output Pan) #2
Pan (Output Pan) #2
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
Value: L64 63R
Value: L64 63R
83
04: PHASER
05: SPECTRUM
A phaser adds a phase-shifted sound to the direct sound,

producing a twisting modulation that creates spaciousness
and depth.
Spectrum is a type of filter which modifies the timbre by

boosting or cutting the level at specific frequencies.
fig.MFX-04
L in
L out
Pan L
Phaser
Mix
R in
Resonance
It is similar to an equalizer, but has 8 frequency points fixed

at locations most suitable for adding character to the sound.
fig.MFX-05
L in
Spectrum
R out
Manual #1
L out
Pan L
Pan R
Pan R
R in
Adjust the basic frequency from which the sound will be

modulated.
Band 1 (Band 1 Gain)
Value: 1008000 [Hz]
Value: -15 +15 [dB]
Rate #2
Adjust the frequency (period) of modulation.
Adjust the 500 Hz level.
Value: 0.0510.00 [Hz]
Value: -15 +15 [dB]
Depth
Adjust the depth of modulation.
Value: 0127
Value: -15 +15 [dB]
Resonance
Adjust the amount of feedback for the phaser.
Value: 0127
Value: -15 +15 [dB]
Mix (Mix Level)
Adjust the ratio with which the phase-shifted sound is

combined with the direct sound.
R out
Value: -15 +15 [dB]
Value: 0127

Pan (Output Pan)
Value: -15 +15 [dB]
Value: L64 63R

Value: -15 +15 [dB]

Value: 0127

Value: -15 +15 [dB]
Q
Simultaneously adjust the width of the adjusted areas for all
the frequency bands.
Value: 0.5, 1.0, 2.0, 4.0, 8.0
84
07: AUTO WAH
Pan (Output Pan) #1

Value: L64 63R
The Auto Wah cyclically controls a filter to create cyclic

change in timbre.
fig.MFX-07
L in
Level (Output Level) #2
L out
Auto Wah
R in
Value: 0127
R out
Filter Type
06: ENHANCER
Select the type of filter.
The Enhancer controls the overtone structure of the high

frequencies, adding sparkle and tightness to the sound.
R in
LPF: The wah effect will be applied over a wide frequency range.
BPF: The wah effect will be applied over a narrow frequency range.
fig.MFX-06
L in
Value
2-Band
EQ
L out
Mix
R out
Mix
2-Band
EQ
Enhancer
Enhancer
Sens (Sensitivity)
Adjust the sensitivity with which the filter is controlled.
Value: 0127
Manual #1
Adjust the sensitivity of the enhancer.
Adjust the center frequency from which the effect is applied.
Value: 0127
Value: 0127
Mix (Mix Level) #2
Peak
Adjust the ratio with which the overtones generated by the

enhancer are combined with the direct sound.
Low Gain
Adjust the amount of the wah effect that will occur in the
area of the center frequency. Lower settings will cause the
effect to be applied in a broad area around the center
frequency. Higher settings will cause the effect to be applied
in a more narrow range.
Value: 0127
Value: 0127
Value: -15 +15 [dB]
Rate #2
High Gain
Adjust the frequency of the modulation.
Value: 0.0510.00 [Hz]
Value: -15 +15 [dB]
Depth
Adjust the depth of the modulation.
Value: 0127
Value: 0127
Chapter 6
Sens (Sensitivity) #1
Polarity
Sets the direction in which the frequency will change when
the auto-wah filter is modulated. With a setting of Up, the
filter will change toward a higher frequency. With a setting
of Down, it will change toward a lower frequency.
Value: UP, DOWN

Value: 0127
85
08: ROTARY
Separation
The Rotary effect simulates the sound of the rotary speakers

often used with the electric organs of the past.
Since the movement of the high range and low range rotors
can be set independently, the unique type of modulation
characteristic of these speakers can be simulated quite
closely. This effect is most suitable for electric organ Patches.
Adjust the spatial dispersion of the sound.

Value: 0127
Speed #1
Simultaneously switch the rotational speed of the low
frequency rotor and high frequency rotor.
Value
fig.MFX-08
L in
L out
Rotary
R in
R out
Low Slow (Low Frequency Slow Rate)

Adjust the slow speed (SLOW) of the low frequency rotor.
Value: 0.0510.00 [Hz]
SLOW: Slow down the rotation to the specified speed (the

Low Slow/Hi Slow values).
FAST:
Speed up the rotation to the specified speed (the

Low Fast/Hi Fast values).
* When you want to use the pedal switch to switch the Rotary
rotation speed, select MFX PARAMETER 1 in Control Pedal
Assign (p. 73).
Low Fast (Low Frequency Fast Rate)
Adjust the fast speed (FAST) of the low frequency rotor.
Value: 0.0510.00 [Hz]
Value: 0127
Low Accel (Low Frequency Acceleration)

Adjust the time it takes the low frequency rotor to reach the
newly selected speed when switching from fast to slow (or
slow to fast) speed. Lower values will require longer times.
Value: 015
Low Level (Low Frequency Level)

Adjust the volume of the low frequency rotor.
Value: 0127
High Slow (High Frequency Slow Rate)

Adjust the slow speed (SLOW) of the high frequency rotor.
Value: 0.0510.00 [Hz]
High Fast (High Frequency Fast Rate)

Adjust the fast speed (FAST) of the high frequency rotor.
Value: 0.0510.00 [Hz]
High Accel (High Frequency Acceleration)

Adjust the time it takes the high frequency rotor to reach the
newly selected speed when switching from fast to slow (or
slow to fast) speed. Lower values will require longer times.
Value: 015
High Level (High Frequency Level)

Adjust the volume of the high frequency rotor.
Value: 0127
86
09: COMPRESSOR
10: LIMITER
The Compressor flattens out high levels and boosts low

levels, smoothing out unevenness in volume.
The Limiter compresses signals that exceed a specified

volume level, preventing distortion from occurring.
fig.MFX-09
fig.MFX-10
L in
L out
Compressor
2-Band
EQ
R in
L in
L out
Pan L
Limiter
Pan R
R out
2-Band
EQ
R in
Pan L
Pan R
R out
Attack (Attack Time)
Threshold (Threshold Level)
Adjust the attack time of an input sound.
Adjust the volume at which compression will begin.
Value: 0127
Value: 0127
Sustain
Ratio (Compression Ratio)
Adjust the time over which low level sounds are boosted
until they reach the specified volume.
Adjust the compression ratio.

Value: 1.5:1, 2:1, 4:1, 100:1
Value: 0127
Post Gain
Adjust the output gain.
Adjust the time from when the volume falls below the
Threshold Level until compression is no longer applied.
Value: 0, +6, +12, +18 [dB]
Value: 0127
Low Gain
Post Gain
Adjust the low frequency gain.
Adjust the output gain.
Value: -15 +15 [dB]
Value: 0, +6, +12, +18 [dB]
High Gain
Low Gain
Adjust the high frequency gain.
Adjust the low frequency gain.
Value: -15 +15 [dB]
Value: -15 +15 [dB]
Pan (Output Pan) #1
High Gain
Adjust the high frequency gain.
Chapter 6
Release (Release Time)
Value: -15 +15 [dB]
Value: L64 63R
Pan (Output Pan) #1

Value: 0127
Value: L64 63R

Value: 0127
87
11: HEXA-CHORUS
Hexa-chorus uses a six-phase chorus (six layers of chorused

sound) to give richness and spatial spread to the sound.

Value: 0127
fig.MFX-11
L in
L out
Balance D
Balance W
Hexa-Chorus
Balance W
R in
R out
Balance D
12: TREMOLO CHORUS

Tremolo Chorus is a chorus effect with added Tremolo
(cyclic modulation of volume).
fig.MFX-12
L in
L out
Balance D
Balance W
Pre Delay (Pre Delay Time)

Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
Tremolo Chorus
Balance W
R in
Rate #1
Adjust the rate of modulation.
Value: 0.0510.00 [Hz]
Depth
Value: 0127
Pre Delay Dev (Pre Delay Deviation)

Pre Delay determines the time from when the direct sound
begins until the processed sound is heard. Pre Delay
Deviation adjusts the differences in Pre Delay between each
chorus sound.
Value: 020
R out
Balance D
Value: 0.0100 [ms]

Value: 0.0100 [ms]
Chorus Rate
Adjust the modulation speed of the chorus effect.
Value: 0.0510.00 [Hz]
Chorus Depth
Adjust the modulation depth of the chorus effect.
Value: 0127
Tremolo Phase
Adjust the spread of the tremolo effect.
Depth Dev (Depth Deviation)
Value: 0180 [deg]
Adjust the difference in modulation depth between each

chorus sound.
Tremolo Rate #1
Value: -20 +20
Adjust the modulation speed of the tremolo effect.

Value: 0.0510.00 [Hz]
Pan Dev (Pan Deviation)

Adjust the difference in stereo location between each chorus
sound. With a setting of 0, all chorus sounds will be in the
center. With a setting of 20, each chorus sound will be spaced
at 60 degree intervals relative to the center.
Value: 020
Balance (Effect Balance) #2

Adjust the volume balance between the direct sound and the
chorus sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
chorus sound will be output.
Value: D100:0WD0:100W
88
Tremolo Sep (Tremolo Separation)

Adjust the spread of the tremolo effect.
Value: 0127

tremolo chorus sound. With a setting of D100:0W only the
direct sound will be output, and with a setting of D0:100W
only the tremolo chorus sound will be output.
Value: 0127
Value: 0127
13: SPACE-D
14: STEREO CHORUS
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.
This is a stereo chorus. A filter is provided so that you can

adjust the timbre of the chorus sound.
fig.MFX-14
Balance D
fig.MFX-13
2-Band
EQ
L in
Balance D
2-Band
EQ
L in
Space-D
Balance W
Space-D
Balance W
R in
Balance D
2-Band
EQ
L out
Chorus
Balance W
Chorus
Balance W
R in
Balance D
R out
2-Band
EQ
L out
R out

until the processed sound is heard.
until the processed sound is heard.
Value: 0.0100 [ms]
Value: 0.0100 [ms]
Rate #1
Value: 0.0510.00 [Hz]
Chapter 6
Rate #1
Value: 0.0510.00 [Hz]
Depth
Depth
Value: 0127
Value: 0127
Phase
Phase
Adjust the spatial spread of the sound.
Value: 0180 [deg]
Value: 0180 [deg]
Filter Type
Low Gain
Value
Value: -15 +15 [dB]
OFF: a filter will not be used
High Gain
LPF: cut the frequency range above the cutoff frequency

HPF: cut the frequency range below the cutoff frequency

Value: -15 +15 [dB]

Cutoff Freq (Cutoff Frequency)

Adjust the basic frequency of the filter.
Value: 2008000 [Hz]
Low Gain
Value: -15 +15 [dB]
89
High Gain
Feedback (Feedback Level) #2
Adjust the amount (%) of the processed sound that is

returned (fed back) into the input. Positive (+) settings will
return the sound in phase, and negative (-) settings will
return the sound in reverse phase.
Value: -15 +15 [dB]

Value: -98 +98 [%]
Value: 0180 [deg]
Filter Type
Value: 0127
OFF: a filter will not be used
Phase
LPF: cut the frequency range above the cutoff frequency
15: STEREO FLANGER
HPF: cut the frequency range below the cutoff frequency
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.
Cutoff Freq (Cutoff Frequency)
fig.MFX-15
Balance D
2-Band
EQ
L in
Flanger

Balance W
2-Band
EQ
Value: -15 +15 [dB]

R out

until the flanger sound is heard.

Value: 0.0510.00 [Hz]
Depth
Value: 0127
90
Value: -15 +15 [dB]
High Gain
Balance D
Rate #1
Low Gain
Balance W
R in
Value: 0.0100 [ms]
Value: 2008000 [Hz]

L out
Feedback
Feedback
Flanger
Adjust the basic frequency of the filter.
Balance (Effect Balance)

flanger sound. With a setting of D100:0W only the direct
flanger sound will be output.

Value: 0127
16: STEP FLANGER
High Gain
The Step Flanger effect is a flanger in which the flanger pitch

changes in steps.

Value: -15 +15 [dB]
fig.MFX-16
Balance D
2-Band
EQ
L in
Step Flanger

L out
Balance W
Feedback
Feedback
Step Flanger
Balance W
R in
Balance D
2-Band
EQ
flanger sound. With a setting of D100:0W only the direct
R out


Value: 0127
Value: 0.0100 [ms]
Rate
Chapter 6
Value: 0.0510.00 [Hz]
Depth
Value: 0127

Adjust the amount (%) of the flanger sound that is returned
(fed back) into the input. Negative (-) settings will invert the
phase.
Value: -98 +98 [%]
Phase
Value: 0180 [deg]
Step Rate #2
Adjust the rate (period) of pitch change.
Value: 0.120.0 [Hz], note-value symbols
Step Rate parameter can be set as a note-value of a
specified tempo. In this case, specify the value of the
desired note. The Tempo (p. 76) setting changes to the
basic tempo.
Low Gain
Value: -15 +15 [dB]
91
17: STEREO DELAY
Phase Left (Feedback Phase Left)

Select the phase of the left delay sound.
This is a stereo delay.
Value
When Feedback Mode is NORMAL:
NORMAL: Phase is not changed.
fig.MFX-17a
Balance D
2-Band
EQ
L in
Delay
L out
Balance W
Select the phase of the right delay sound.

Value
Balance W
2-Band
EQ
R in
Balance D
NORMAL: Phase is not changed.

R out
When Feedback Mode is CROSS:

Balance D
2-Band
EQ
L in
L out
Balance W
Phase is inverted.
Adjust the frequency above which sound fed back to the

effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
Value: 2008000 [Hz], BYPASS
Feedback
Feedback
Delay
INVERT:
HF Damp
fig.MFX-17b
Delay
Phase is inverted.
Phase Right (Feedback Phase Right)
Feedback
Feedback
Delay
INVERT:
Low Gain
Balance W
R in
Balance D
2-Band
EQ
R out
Delay Left (Delay Time Left)

Adjust the time from the direct sound until when the left
delay sound is heard.
Value: 0.0500 [ms]
Delay Right (Delay Time Right)

Adjust the time from the direct sound until when the right
Value: 0.0500 [ms]

Value: -15 +15 [dB]
High Gain
Value: -15 +15 [dB]

delay sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the delay
sound will be output.
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Value: -98 +98 [%]
Feedback Mode
Select the way in which delay sound is fed back into the
effect.
Value
NORMAL: The left delay sound will be fed back into the left
delay, and the right delay sound into the right
delay.
CROSS:
92
The left delay sound will be fed back into the

right delay, and the right delay sound into the
left delay.

Value: 0127
18: MODULATION DELAY
Rate #1
This effect adds modulation to the delayed sound, producing

an effect similar to a flanger.
When Feedback Mode is NORMAL:
Balance D
2-Band
EQ
Delay
Modulation
Adjust the depth of the modulation.

L out
Phase
Delay
Modulation
Balance W
2-Band
EQ
R in
Balance D
Value: 0180 [deg]

R out
HF Damp
When Feedback Mode is CROSS:

fig.MFX-18b
Balance D
2-Band
EQ
L in
Modulation
L out

Balance W
Feedback
Feedback
Low Gain
Modulation
Balance W
R in
Balance D
2-Band
EQ
R out
Value: -15 +15 [dB]
Chapter 6
Delay
Value: 0127
Balance W
Feedback
Feedback
Delay
Value: 0.0510.00 [Hz]
Depth
fig.MFX-18a
L in
Adjust the speed of the modulation.
High Gain
Adjust the time from the direct sound until when the left
Value: -15 +15 [dB]
Value: 0.0500 [ms]
Adjust the time from the direct sound until when the right
modulation delay sound. With a setting of D100:0W only the
direct sound will be output, and with a setting of D0:100W
only the modulation delay sound will be output.
Value: 0.0500 [ms]
Feedback (Feedback Level)
Value: 0127
Value: -98 +98 [%]
Feedback Mode
Select the way in which delay sound is fed back into the
effect.
Value
NORMAL: The left delay sound will be fed back into the left
delay, and the right delay sound into the right
delay.
CROSS:
The left delay sound will be fed back into the

right delay, and the right delay sound into the
left delay.
93
19: TRIPLE TAP DELAY
Right Level
The Triple Tap Delay produces three delay sounds; center,

left and right.
Adjust the volume of the right delay sound.

Value: 0127
fig.MFX-19
Balance D
2-Band
EQ
L in
Balance W
Left Tap
Triple Tap Delay
Feedback
HF Damp
L out
Center Tap

Right Tap
Balance W
R in
Balance D
2-Band
EQ
R out
Low Gain
Delay Center (Delay Time Center)
Value: -15 +15 [dB]
Adjust the time delay from the direct sound until when the
center delay sound is heard.
High Gain
Value: 2001000 [ms], note-value symbols

Value: -15 +15 [dB]

left delay sound is heard.

right delay sound is heard.


Delay C, Delay L and Delay R parameters can be set as a

note-value of a specified tempo. In this case, specify the
value of the desired note. The Tempo (p. 76) setting
changes to the basic tempo.

Value: -98 +98 [%]
Center Level
Adjust the volume of the center delay sound.
Value: 0127
Left Level
Adjust the volume of the left delay sound.
Value: 0127
94
Value: 0127
20: QUADRUPLE TAP DELAY
Level 2
Adjust the volume of delay 2 sound.
The Quadruple Tap Delay has four delays.
Value: 0127
fig.MFX-20a
Balance D
L in
L out
Delay 1
Balance W
Feedback
Delay 2
Level 3
Value: 0127
Quadruple Tap Delay

Delay 3
Balance W
Delay 4
R in
R out
Balance D
The stereo location of each delay sound is as follows.
Level 4
Value: 0127
fig.MFX-20b
1
L
4
R
Delay 1 (Delay Time 1)

Adjust the time delay from the direct sound until when delay
1 sound is heard.
Value: -98 +98 [%]
HF Damp
2 sound is heard.
Balance (Effect Balance) #

3 sound is heard.
Chapter 6


4 sound is heard.
Value: 0127

Delay 14 parameters can be set as a note-value of a
specified tempo. In this case, specify the value of the
desired note. The Tempo (p. 76) setting changes to the
basic tempo.
Level 1
Value: 0127
95
21: TIME CONTROL DELAY
You can use the modulation lever and knobs to change the
delay time and pitch in real time (p. 71). Lengthening the
delay will lower the pitch, and shortening it will raise the
pitch.
fig.MFX-21
L in
2-Band
EQ
Balance D
L out
Balance W

Time Control Delay

Balance W
Feedback
R in
Balance D
2-Band
EQ
Value: 0127
R out
Delay (Delay Time) #1

Adjust the time delay from the direct sound until when each
Value: 2001000 [ms]
Acceleration
22: 2VOICE PITCH SHIFTER

A Pitch Shifter shifts the pitch of the direct sound. This 2voice pitch shifter has two pitch shifters, and can add two
pitch shifted sounds to the direct sound.
fig.MFX-22
Balance D
L in
L out
Level Balance A
This parameter adjusts the time over which the Delay Time
will change from the current setting to a newly specified
setting. The rate of change for the Delay Time directly affects
the rate of pitch change.
Value: 015
2Voice Pitch Shifter
PanA L
Balance W
PanA R
PanB L
Level Balance B
PanB R
R in
Balance W
R out
Balance D

Value: -98 +98 [%]
HF Damp
CoarseA (Coarse Pitch A) #1

Adjust the pitch of Pitch Shift A in semitone steps (-2+1
octaves).
Value: -24 +12 [semi]
Fine A (Fine Pitch A) #1

Make fine adjustments to the pitch of Pitch Shift A in 2-cent
steps (-100+100 cents).
One cent is 1/100th of a semitone.
Value: -100 +100 [cent]
Pan (Output Pan)

Adjust the stereo location of the delay sound. L64 is far left, 0
is center, and 63R is far right.
Value: L6463R
Pan A (Output Pan A)

Adjust the stereo location of the Pitch Shift A sound. L64 is
far left, 0 is center, and 63R is far right.
Value: L6463R
Low Gain
Pre Delay A (Pre Delay Time A)
Value: -15 +15 [dB]
until the Pitch Shift A sound is heard.
High Gain
Value: 0.0500 [ms]

Value: -15 +15 [dB]
96
CoarseB (Coarse Pitch B) #2

Adjust the pitch of Pitch Shift B in semitone steps (-2+1
octaves).
23: FBK PITCH SHIFTER

(Feedback Pitch Shifter)
This pitch shifter allows the pitch shifted sound to be fed
back into the effect.
fig.MFX-23
L in
Make fine adjustments to the pitch of Pitch Shift B in 2-cent

steps (-100+100 cents).
2-Band
EQ
Balance D
L out
Balance W
Pitch Shifter
Balance W
One cent is 1/100th of a semitone.
Feedback
2-Band
EQ
Value: -100 +100 [cent]
R in
Pan B (Output Pan B)
Coarse (Coarse Pitch) #1
Adjust the stereo location of the Pitch Shift B sound. L64 is

Adjust the pitch of the pitch shifted sound in semitone steps

(-2+1 octaves).
Value: L6463R
Pre Delay B (Pre Delay Time B)
Fine (Fine Pitch) #1
until the Pitch Shift A sound is heard.
Make fine adjustments to the pitch of the pitch shifted sound

in 2-cent steps (-2+1 octaves).
Value: 0.0500 [ms]
Value: -100 +100 [cent]
Mode (Pitch Shifter Mode)
Higher settings of this parameter will result in slower

response, but steadier pitch.
Adjust the proportion (%) of the processed sound that is fed

back into the effect. Negative (-) settings will invert the
phase.
Value: 1, 2, 3, 4, 5
Balance D
R out
Value: -98 +98 [%]
Lev Balance (Level Balance)

Adjust the volume balance between the Pitch Shift A and
Pitch Shift B sounds.
Value: A100:0BA0:100B

until the pitch shifted sound is heard.
Value: 0.0500 [ms]

pitch shift sound. With a setting of D100:0W only the direct
pitch shift sound will be output.
Mode (Pitch Shifter Mode)

Higher settings of this parameter will result in slower
response, but steadier pitch.
Value: 1, 2, 3, 4, 5
Pan (Output Pan)

Adjust the stereo location of the pitch shifted sound. L64 is

Value: 0127
Value: L6463R
Low Gain
Value: -15 +15 [dB]
97
Chapter 6
Fine B (Fine Pitch B) #2
High Gain
HF Damp
Adjust the frequency above which the reverberant sound will

be cut. As the frequency is set lower, more of the high
frequencies will be cut, resulting in a softer and more muted
reverberance. If you do not want the high frequencies to be
cut, set this parameter to BYPASS.
Value: -15 +15 [dB]

pitch shift sound. With a setting of D100:0W only the direct
pitch shift sound will be output.
Low Gain
Value: -15 +15 [dB]

High Gain
Value: 0127

Value: -15 +15 [dB]
24: REVERB
The Reverb effect adds reverberation to the sound,

simulating an acoustic space.
fig.MFX-24
L in
2-Band
EQ
Balance D
L out
reverb sound. With a setting of D100:0W only the direct
reverb sound will be output.
Balance W
Reverb
Balance W
R in
Balance D
2-Band
EQ
R out
Type (Reverb Type)

Select the type of Reverb effect.
Value
ROOM1:
dense reverb with short decay
ROOM2:
sparse reverb with short decay
STAGE1:
reverb with greater late reverberation
STAGE2:
reverb with strong early reflections
HALL1:
reverb with clear reverberance
HALL2:
reverb with rich reverberance

until the reverb sound is heard.
Value: 0.0100 [ms]
Time (Reverb Time) #1

Adjust the time length of reverberation.
Value: 0127
98

Value: 0127
25: GATED REVERB
26: OVERDRIVECHORUS
Gate Reverb is a special type of reverb in which the

reverberant sound is cut off before its natural length.
This effect connects an overdrive and a chorus in series.
fig.MFX-25
L in
L in
2-Band
EQ
Balance D
fig.MFX-26
L out
Balance D
Balance W
L out
Overdrive
Chorus
Balance W
Balance W
Gated Reverb
R in
Balance D
2-Band
EQ
R out
R in
Balance W
Balance D
R out
Type (Gated Reverb Type)
OD Drive
Select the type of reverb.
Adjust the degree of overdrive distortion. The volume will

change together with the degree of distortion.
Value
Value: 0127
REVERSE: backwards reverb

SWEEP1:
the reverberant sound moves from right to left
SWEEP2:
the reverberant sound moves from left to right

until the reverb sound is heard.
Value: 0.0100 [ms]
Gate Time
Adjust the time from when the reverb is heard until when it
disappears.
Value: 5500 [ms]
Low Gain
Value: -15 +15 [dB]
High Gain
Value: -15 +15 [dB]

reverb sound. With a setting of D100:0W only the direct
reverb sound will be output.
OD Pan (Overdrive Pan) #1

Adjust the stereo location of the overdrive sound. L64 is far
left, 0 is center, and 63R is far right.
Value: L6463R
Chorus Delay (Chorus Pre Delay Time)

Chapter 6
NORMAL: conventional gate reverb
Value: 0.0100 [ms]
Chorus Rate
Value: 0.0510.00 [Hz]
Chorus Depth
Value: 0127
Chorus Bal (Chorus Balance) #2

Adjust the volume balance between the overdrive sound that
is sent through the chorus and the overdrive sound that is
not sent through the chorus. With a setting of D100:0W,
only the overdrive sound will be output. With a setting of
D0:100W, only the overdrive sound that is sent through
the chorus will be output.

Value: 0127

Value: 0127
99
27: OVERDRIVEFLANGER
This effect connects an overdrive and a flanger in series.

Value: 0127
fig.MFX-27
Balance D
L out
L in
Feedback
Overdrive
Balance W
Flanger
Balance W
R out
R in
28: OVERDRIVEDELAY
This effect connects an overdrive and a delay in series.
fig.MFX-28
L out
L in
Balance D
Balance D
Balance W
Overdrive
OD Drive
Value: 0127

Value: L6463R
Flg Pre Dly (Flanger Pre Delay Time)

Value: 0.0100 [ms]
Flg Rate (Flanger Rate)
Delay
Balance W
Feedback
R out
R in
Balance D
OD Drive
Value: 0127

Value: L6463R
Delay Time
Adjust the modulation speed of the flanger effect.
until the delay sound is heard.
Value: 0.0510.00 [Hz]
Value: 0.0500 [ms]
Flg Dpt (Flanger Depth)
Delay Feedback (Delay Feedback Level)
Adjust the modulation depth of the flanger effect.
Value: 0127
Value: -98 +98 [%]
Flg Feedback (Flanger Feedback Level)

Adjust the proportion (%) of the flanger sound that is fed
phase.
Value: -98 +98 [%]
Delay HF Damp
Adjust the frequency above which delayed sound fed back to
the effect will be cut. If you do not want to cut the high
Flg Balance (Flanger Balance) #2

is sent through the flanger and the overdrive sound that is
not sent through the flanger. With a setting of D100:0W,
only the overdrive sound will be output. With a setting of
D0:100W, only the overdrive sound that is sent through
the flanger will be output.
Delay Bal (Delay Balance) #2

is sent through the delay and the overdrive sound that is not
sent through the delay. With a setting of D100:0W, only the
overdrive sound will be output. With a setting of D0:100W,
only the overdrive sound that is sent through the delay will
be output.
100
31: DISTORTIONDELAY

Value: 0127
This effect connects distortion and delay in series. The

parameters are essentially the same as in 28: OVERDRIVE
DELAY, with the exception of the following two.
29: DISTORTIONCHORUS
OD Drive Dist Drive (Specify the amount of distortion.)
This effect connects distortion and chorus in series. The

parameters are essentially the same as 26: OVERDRIVE
CHORUS, with the exception of the following two.
OD Pan
Dist Pan (Specify the stereo location of the

distortion sound.)
fig.MFX-31
L out
L in

OD Pan
Balance D
Balance W

distortion sound.)
fig.MFX-29
L out
L in
Distortion
Delay
Balance W
Feedback
R out
R in
Balance D
Balance D
Balance W
Distortion
Chorus
Balance W
R out
R in
Balance D
30: DISTORTIONFLANGER
Chapter 6
This effect connects distortion and flanger in series. The

parameters are essentially the same as in 27: OVERDRIVE
FLANGER, with the exception of the following two.
OD Pan

distortion sound.)
fig.MFX-30
Balance D
L out
L in
Feedback
Distortion
Balance W
Flanger
Balance W
R out
R in
Balance D
101
32: ENHANCERCHORUS
33: ENHANCERFLANGER
This effect connects an enhancer and a chorus in series.
This effect connects an enhancer and a flanger in series.
fig.MFX-32
fig.MFX-33
L in
Balance D
L out
Enhancer
Mix
L in
Balance D
L out
Enhancer
Mix
Balance W
Feedback
Balance W
Chorus
Flanger
Balance W
Balance W
R in
R out
Enhancer
Mix
Balance D
R in
R out
Enhancer
Mix
Enhancer Sens (Enhancer Sensitivity) #1

Value: 0127
Enhancer Mix (Enhancer Mix Level)

Value: 0127

Value: 0.0100 [ms]
Chorus Rate
Value: 0.0510.00 [Hz]
Chorus Depth
Value: 0127

Adjust the volume balance between the enhancer sound that
is sent through the chorus and the enhancer sound that is not
sent through the chorus. With a setting of D100:0W, only
the enhancer sound will be output. With a setting of
D0:100W, only the enhancer sound that is sent through the
chorus will be output.

Value: 0127

Value: 0127

Value: 0127
Flg Pre Dly (Flanger Pre Delay Time)

Value: 0.0100 [ms]

Value: 0.0510.00 [Hz]
Flg Depth (Flanger Depth)

Value: 0127

phase.
Value: -98 +98 [%]

is sent through the flanger and the enhancer sound that is not
sent through the flanger. With a setting of D100:0W, only
the enhancer sound will be output. With a setting of
D0:100W, only the enhancer sound that is sent through the
flanger will be output.
102
Balance D
Value: 0127
Value: 0127
34: ENHANCERDELAY
35: CHORUSDELAY
This effect connects an enhancer and a delay in series.
This effect connects a chorus and a delay unit in series.
fig.MFX-34
fig.MFX-35
Balance D
L out
Enhancer
Mix
L in
Balance D
L out
Balance D
Balance W
Balance W
Delay
Chorus
Balance W
Feedback
R in
Balance W
R out
Enhancer
Mix
Balance D

Value: 0127

Value: 0127
Delay Time
Value: 0.0500 [ms]

into the delay input. Negative (-) settings will invert the
phase.
Value: -98 +98 [%]
Delay HF Damp
the delay input will be cut. If you do not want to cut the high
frequencies of the delay feedback, set this parameter to
BYPASS.
Balance W
Feedback
R in
R out
Balance D
Balance W
Delay
Balance D

Value: 0.0100 [ms]
Chorus Rate
Chapter 6
L in
Value: 0.0510.00 [Hz]
Chorus Depth
Value: 0127

chorus sound. With a setting of D100:0W, only the direct
sound will be output. With a setting of D0:100W, only the
Delay Time
Value: 0.0500 [ms]
phase.

is sent through the delay and the enhancer sound that is not
sent through the delay. With a setting of D100:0W, only the
enhancer sound will be output. With a setting of D0:100W,
only the enhancer sound that is sent through the delay will
be output.
Value: -98 +98 [%]
103
Delay HF Damp

flanger sound. With a setting of D100:0W, only the direct
flanger sound will be output.

Adjust the volume balance between the chorus sound that is
sent through the delay and the chorus sound that is not sent
through the delay. With a setting of D100:0W, only the
chorus sound will be output. With a setting of D0:100W,
only the chorus sound that is sent through the delay will be
output.
Delay Time
Value: 0.0500 [ms]
phase.
Value: -98 +98 [%]
Value: 0127
Delay HF Damp
frequencies of the delay feedback, set this parameter to
BYPASS.
36: FLANGERDELAY
This effect connects a flanger and a delay in series.
fig.MFX-36
Balance D
L in
L out
Flanger
Balance D
Feedback
Balance W
Balance W
Balance W
Delay
Balance W
Adjust the volume balance between the flanger sound that is

sent through the delay and the flanger sound that is not sent
through the delay. With a setting of D100:0W, only the
flanger sound will be output. With a setting of D0:100W,
only the flanger sound that is sent through the delay will be
output.
Value: 0.0100 [ms]
Value: 0.0510.00 [Hz]
Value: 0127
37: CHORUSFLANGER
Feedback
R in
R out
Balance D
Balance D
Flg Pre Delay (Flanger Pre Delay Time)

Value: 0127
This effect connects a chorus and a flanger in series.

fig.MFX-37
Balance D

phase.
Value: -98 +98 [%]
104
Balance D
L in
L out
Balance W
Chorus
Feedback
Balance W
Flanger
Balance W
Balance W
R in
R out
Balance D
Balance D
Cho Delay (Chorus Pre Delay Time)

Value: 0127
Value: 0.0100 [ms]
Chorus Rate
Value: 0.0510.00 [Hz]
Chorus Depth
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.
fig.MFX-38
Balance D
L in
L out
Chorus
Balance W
Feedback
chorus sound. With a setting of D100:0W, only the direct
R in
39: FLANGER/DELAY
Flg Pre Delay (Flanger Pre Delay Time)
This effect connects a flanger and a delay in parallel. The

parameters are the same as for 36: FLANGER DELAY.
Delay
Balance W
R out
Balance D
Value: 0.0100 [ms]
fig.MFX-39
L in
Balance D
L out
Flanger
Value: 0.0510.00 [Hz]
Feedback
Feedback

Delay
R in
Balance W
Balance W
R out
Balance D
Value: 0127
40: CHORUS/FLANGER

phase.
This effect connects a chorus and a flanger in parallel. The

parameters are the same as for 37: CHORUS FLANGER.
However, the Flanger Balance parameter adjusts the volume
balance between the direct sound and the flanger sound.
Value: -98 +98 [%]
fig.MFX-40

Adjust the volume balance between the chorus sound and
the chorus sound that is passed through the flanger. With a
setting of D100:0W, only the chorus sound will be output.
With a setting of D0:100W, only the chorus sound that
passes through the flanger will be output.
Balance D
L in
L out
Chorus
Balance W
Feedback
Flanger
R in
Balance W
R out
Balance D
105
Chapter 6
Value: 0127
41: LOFI
42: SLICER
This effect intentionally degrades the audio quality to

simulate a Lo-Fi sound. It is particularly effective on drums.
By applying successive cuts to the sound, this effect turns a

conventional sound into a sound that appears to be played as
a backing phrase. This is especially effective when applied to
sustain-type sounds.
L in
Lo-Fi
2-Band EQ
L out
R in
Lo-Fi
2-Band EQ
R out
L in
Slicer
L out
R in
Slicer
R out
Bit Down
This setting lowers the audio quality. The audio quality will
worsen as this setting is increased.
Timing Pttern (Timing Pattern)
Value: 07
Select a pattern to specify the timing at which the sound will

be cut.
S-Rate Down (Sample-Rate Down)
Value: 134
This coarsens the output signal. The sound will become

coarser as this setting is lowered.
Accent Pttern (Accent Pattern)
Value: 32, 16, 8, 4 [kHz]
Specifies the location of the accents.

Value: 116
Post Gain
Adjusts the output signal.
Accent Level
Value: 0, +6, +12, +18 [dB]
Adjusts the volume of the accents. As this setting is

increased, the accent will be more pronounced.
Low Gain
Value: 0127

Value: -15 +15 [dB]
High Gain
Attack
Adjusts the attack speed of the sound. As this setting is
increased, the attack will become faster.
Value: 110
Value: -15 +15 [dB]
Rate #1
Output
This sets the period for the pattern.
Specifies how the sound will be output. With a setting of

MONO, the output sound will be monaural.
Value: MONO, STEREO
Level (Output Level) #1 #2
Value: 0.0510.00 [Hz], note-value symbols

Rate parameters can be set as a note-value of a specified
tempo. In this case, specify the value of the desired note.
The Tempo (p. 76) setting changes to the basic tempo.
Specifies the output volume from the Lo-Fi effect.

Value: 0127
Reset #2
This setting determines whether the pattern is reset (ON), or
not (OFF) when sounds are played.
Value: OFF, ON

Value: 0127
106
Setting Multi-Effects as On/Off

for Individual Parts
You can specify whether to have multi-effects used (ON), or
not used (OFF) for individual Parts only when Source is set
to PERFORMANCE.
3. Press [ENTER].
4. Press PART [
3. Press [ENTER].
you wish to set.
fig.R06-05
previous item.
]/[
5. Press the numeric key [6] several times to select

Switch.
fig.R06-04
6. Press [EDIT].
Type (Chorus Type)
7. Press [EDIT].
Making Chorus Settings
You can choose from 8 types of chorus.

Value:
CHORUS14:
General chorus settings. Adds

breadth and fullness to the sound.
FEEDBACK CHORUS: Chorus that produces a flanger-like

effect, creating a soft sound.
FLANGER:
This effect produces a rising and

falling sweep reminiscent of a jet
airplane.
SHORT DELAY:
There are eight types of chorus. You can select any one of
This is a delay with a short delay

time.
SHORT DELAY(FB):
This is a delay with a short delay time

and many repeats.
Furthermore, you can set the chorus depth (the amount

applied) differently for each individual Part in a
Performance.
Pre-LPF (Chorus pre-low pass filter)
You can make different chorus settings for each individual

Performance.
Select the Type and Set Each

Parameter
When you change the Chorus Type, eight different Chorus/
chorus parameters are changed automatically to the
optimum values. Rather than setting the chorus parameters
one by one, you can make the settings more easily by first
setting the Chorus Type and then changing only the
necessary parameters.
These settings can be made differently for each individual
Performance.
PFMCommon.
A low-pass filter can be applied to the sound coming into the

chorus to cut the high frequency range. Higher values will
cut more of the high frequencies, resulting in a more mellow
chorus sound.
Value: 07
Level (Chorus Level)

Sets the amount of the chorus sound.
Value: 0127
Feedback (Chorus Feedback Level)

Sets the level at which the chorus sound is re-input (fed back)
into the chorus. By using feedback, a denser chorus sound
can be created. Higher values result in a greater feedback
level.
Value: 0127
107
Chapter 6
6. Press VALUE [-]/[+] to select the value (OFF, ON).
Delay (Chorus Delay Time)
Making Reverb Settings
Sets the delay time of the chorus effect.

Value: 0127
You can make different Reverb settings for each individual

Performance.
Rate (Chorus Rate)
There are eight types of reverb. You can select any one of
Sets the speed (frequency) at which the chorus sound is

modulated. Higher values result in faster modulation.
Furthermore, you can make different reverb depth (the

amount applied) settings for each individual Part in a
Performance.
Value: 0127
Depth (Chorus Depth)

Sets the depth at which the chorus sound is modulated.
Higher values result in deeper modulation.
Value: 0127
Send levl to Rev (Chorus send level to reverb)

Sets the amount of chorus sound that will be sent to the
reverb. Higher values result in more sound being sent.
Value: 0127
Setting the Chorus Depth for Each

Part
Selecting the Type and Setting

Each Parameter
When you change the Reverb Type, six different reverb
parameters, including Reverb character, are changed
automatically to the optimum values. Rather than setting the
reverb parameters one by one, you can make the settings
more easily by first setting the Reverb Type and then
changing only the necessary parameters.
These settings can be made differently for each individual
Performance.
Send Level (Chorus send level)

Sets the amount of chorus effect applied in each Part.
Value: 0127
3. Press [ENTER].
you wish to set.
fig.R06-07
3. Press [ENTER].
4. Press PART [

PFMCommon.
]/[
5. Press the numeric key [7] several times to select Send

Level
previous item.
fig.R06-06

6. Use VALUE [-]/[+] to select the value (0127).
7. Press [EDIT].
108
6. Press [EDIT].
Type (Reverb Type)

You can choose from 8 types of reverb.
Setting the Reverb Depth of Each

Individual Part
Value:
HALL1, 2:
PLATE:
DELAY:
Simulates the reverberation of room

interiors. It produces a well-defined
and spacious reverberation.
Simulates the reverberation exhibited
by halls. They provide a deeper
reverberation than the Room reverbs.
Send Level (Reverb send level)

Sets the amount of the reverb used in each Part.
Value: 0127
Simulates a plate reverb unit (a type of

artificial reverb that utilized a metal
plate).
3. Press [ENTER].
A standard delay, that produces echo

effects.
5. Press the numeric key [8] several times to select Send

Level
PANNING DELAY: This is a special delay in which the

delayed sound alternates between left
and right. It is effective when you are
listening in stereo.
Character (Reverb Character)

Selects the type of reverb. 05 are reverb effects, and 6 and 7
are delay effects.
4. Press PART [
]/[
fig.R06-08
6. Use VALUE [-]/[+] to select the value (0127).

7. Press [EDIT].
Value: 07
Pre-LPF (Reverb pre-low pass filter)

A low pass filter can be applied to the sound coming into the
reverb to cut the high frequency range. Higher values will
cut more of the high frequencies, resulting in a more mellow
reverberation.
Value: 07
Level (Reverb Level)

Sets the amount of the reverberant sound. Higher values
result in louder reverberation.
Value: 0127
Time (Reverb Time)

Sets the time over which the reverberation will continue.
Higher values result in longer reverberation.
Value: 0127
Delay Feedback (Reverb Delay Feedback)

This parameter is available when the Reverb Character
(Character) is set to 6, 7 or the Reverb Type (Type) is set to
Delay or Panning Delay. It sets the way in which delays
repeat. Higher values result in more delay repeats.
Value: 0127
109
Chapter 6
ROOM13:
Chapter 7. Creating your original Tone or Drum Set

Creating a Tone
You can modify the settings of a Preset Tone to create your
own original Tone. A Tone that you create can be stored as a
User Tone.
Tones feature ten different parameters, plus multi-effects
parameters. To create your own Tone, you will modify these
parameters.
* Refer to the instructions for making the Tone multi-effects
settings (p. 81).
* You can use the knobs to change parameters other than the
Tone Name in real time (p. 74).
Tone Parameters That Can Be Set

[1] TONE
Tone Name
You can change the name of the tone which you created. The
number of characters in names is set at twelve.
Value: space, A--Z, a--z, 0--9, ! " # $ % & ' ( ) * + , - . / : ; < = >
?@[]^_`{|}
LFO Rate
Filter Cutoff
Sets the frequency at which harmonics will be cut. This
changes the brightness of the sound.
Value: -64 +63
Filter Resonance
Provides an adjustment for the amount of emphasis to be
placed on the harmonics in the vicinity of the Cutoff
Frequency. The sound takes on a peculiar effect.
Value: -64 +63
Envelope Attack (Envelope attack time)

Adjusts the time it takes for the initial portion of a sound (the
attack) to be heard after a key is pressed.
Value: -64 +63
Envelope Decay (Envelope decay time)

Adjusts the time it will take for the sound to reach the
Sustain Level. The Sustain Level is the point at which most
of the volume/cut-off frequency modifications have
stabilized.
Value: -64 +63
Envelope Release (Envelope release time)
Adjusts the modulation rate, or speed, of the LFO.
Adjusts the time it takes for the sound to fade away after a
key is released.
Value: -64 +63
Value: -64 +63

fig.R07-01
LFO Depth
Specifies the depth of LFO.
A: Attack time
D: Decay time
R: Release time Sound ends
Volume
Value: -64 +63
Sustain
Level
LFO Delay
This setting allows you to adjust the interval that is to pass
from the moment a key is pressed until the moment that LFO
begins to take effect.
Value: -64 +63
LFO Filter Sw (LFO filter switch)

This determines whether the LFO changes the filter cutoff
frequency (ON) or the pitch (OFF). The parameter value is
changed when FILTER [LFO ON/OFF] is pressed.
Value: OFF, ON
Wah Effect and Vibrato Effect

Changing the filter cutoff frequency with the LFO
produces the wah effect, and by changing the pitch
with the LFO, you get what is called the vibrato
effect.
110
A
Note-on
R
Note-off
Time
Creating a Tone
1. Select the Tone you want to edit.
* When Key Mode is set to Split or Dual, press PART [
[
] to select the Part with the Tone you want to edit.
]/
fig.R07-02
Current Part
Upper Part
Lower Part
The figure above shows an example where the Upper

Part is selected.
PFMCommon.
4. Press [ENTER].
you wish to set.
fig.R07-03
Chapter 7
previous item.
6. Press [
]/[
] to move the cursor to the names
first character position.
* Note that when screens other than the Tone Name screen are
displayed, pressing PART [
]/[
] switches the Part.
8. Press [EDIT].
111
Creating a Drum Set

You can create your own Drum Set by editing the percussion
instrument sounds in one of the Preset Drum Sets. A Drum
Set that you create can be saved as a User Drum Set.
Five parameters (aspects) of a Drum Set can be modified. To
create your own Drum Set, you will modify these
parameters.
Creating a Drum Set

1. Select the Drum Set you wish to modify.
* When Key Mode is set to Split or Dual, press PART [
]/
[
] to select the Part with the Drum Set you want to edit.
fig.R07-04
Current Part
Drum Set Parameters That Can

Be Set
[2] Drum (DRUMS)
Upper Part
Lower Part
The figure above shows an example where the Lower

Part is selected.
DrumSet Name (Drum set name)
You can change the name of the drum set which you created.
The number of characters in names is set at twelve.
Value: space, A--Z, a--z, 0--9, ! " # $ % & ' ( ) * + , - . / : ; < = >
?@[]^_`{|}
4. Press [ENTER].
Pitch
Adjusts the pitch of the percussive sound in semitone steps.
Value: -60 +67
Level
Specifies the volume of the percussion instrument sound.
PFMCommon.
you wish to set.
previous item.
6. Except for when you are naming the Drum Set, press a
key to select the percussion instrument you want to edit.
fig.R07-05
Value: 0127
Pan
Allows you to set the panning (localization of sound image)
for each sound (obtained only with a stereo output). With an
increase in the value for L, more of the sound will be heard as
coming from the left side. Similarly, more of the sound will
originate at the right if the value of R is increased. When set
to RANDOM, you obtain a specialized effect whereby the
sound randomly moves left and right with each key stroke.
Value: RANDOM, L63063R
Reverb Depth
Adjusts the depth of reverb.
Value: 0127
* If you wish to modify the percussion sound of a key which is

outside the range of the keyboard, use the Transpose function
(p. 48) to shift the range of the keyboard.
7. Press [
]/[
* Note that when screens other than the Drum Set Name screen
are displayed, pressing PART [
]/[
] switches the
Part.
9. Press [EDIT].
112
Chapter 8. Saving Your Settings

Saving Tone / Drum Set /
Performance
When the Tone settings are changed, the . in the lower
right of the LED display lights up, indicating that the settings
for the selected Tone, Drum Set, or Performance have been
changed.
5. When a Tone is being edited, press numeric key [1]

several times to select Tone Name. When a Drum Set is
being edited, press numeric key [2] several times to select
DrumSet Name. When a Performance is being edited,
press numeric key [3] to select PERFORMANCE
Name.
fig.R08-03
fig.R08-01exp
When Tone settings are changed
When Drum Set settings are changed
When Performance settings are changed
* By holding down [SHIFT] and pressing [1] or [2], you will

6. Press [
]/[
* You can also save Tone, Drum Set, and Performance settings
to an external sequencer (p. 115).
Assigning a name
Changing the name before saving is a convenient way to
allow you to distinguish different settings.
1. Select the Tone, Drum Set or Performance whose name
you want to change (p. 23, 26, 29, 30, 56).
* When changing Tone or Drum Set names, if Key Mode is set
to Split or Dual, press PART [
]/[
] to select the Part
whose Tone or Drum Set is to be edited.
Example:
Upper can be edited
fig.R08-02

The following characters are available.
Value: space, A--Z, a--z, 0--9, ! " # $ % & ' ( ) * + , - . / : ; <
=>?@[]^_`{|}
8. Repeat steps 67 to input the name.
9. Press [EDIT].
Chapter 8
If you select a different Tone, Drum Set, or Performance

while the dot is lit, the current settings are deleted. If there
are any settings you want to retain, save them to the User
Memory.
When inputting characters, you can perform the

following operations conveniently by pressing
FAVORITE PERFORM BANK [1] [8].
[1]: Displays a . at the cursor position.
[2]: Displays a space at the cursor position.
[3]: Displays an A at the cursor position.
[4]: Displays an a at the cursor position.
[5]: Displays a 0 at the cursor position.
[6]: Converts capital and lowercase characters.
[7]: Inserts a space at the cursor position.

PFMCommon.
[8]: Deletes a character at the cursor position and moves

the following characters to the left.
4. Press [ENTER].
113
How to Save
* When saving a Tone or Drum Set when Key Mode is set to
Split or Dual, the Tone or Drum Set assigned to the selected
Part is saved.
4. Press the numeric keys ([1]-[0]) to specify the save

destination number.
Tone:
001128
Drum set:
001, 002
Performance: 001128
Notes
* If you make a mistake, press [EXIT] and specify the number

once again.
fig.(!)
* You can also specify the number by pressing VALUE [-]/[+].

In this case, there is no need to press [ENTER] in step 5.
5. Press [ENTER] to finalize the number.
When data is being written to the User Memory, the
message KEEP POWER ON! appears in the display; be
sure not to turn off the power while this message is
displayed.
If the power is turned off or interrupted while data is
being written to memory, the internal data may become
corrupted and you may not be able to turn the power
back on. If you have confirmed that the internal data has
been lost, or if a similar problem exists, consult the
retailer from whom you purchased the instrument, or
the nearest Roland Service Center. Note, however, that
Roland assumes no liability, including compensation, for
consequences arising from any loss of data.
* We recommend that you use the Bulk Dump operation (p.
115) to save important data to an external sequencer.
1. Press [UTILITY], getting the indicator to light.

2. Press VALUE [-]/[+] to select Write Tone/Drum or
Write Performance.
* When saving Tones or Drum Sets, select Write Tone/Drum.
When saving Performances, select Write Performance.
3. Press [ENTER].
fig.R08-04exp
When saving Tones
When saving Drum Sets
When saving Performances
114
6. Press [ENTER] once again to execute the Save operation.

After the Save operation is finished, the display will
indicate Completed.
The [UTILITY] indicator goes out, and you are returned
to the previous screen.
* If you change a Tones/Drum Sets settings without
having saved the Tone/Drum Set, and then attempt
to save the Performance, the following message
appears in the display. If this message does appear,
save the Tone/Drum Set with the changed settings
before saving the Performance.
fig.R08-05
Saving settings on an external

sequencer (Bulk Dump)
The act of transmitting Tone, Drum Set, Performance or
System settings to an external MIDI device is called a Bulk
Dump. You can perform a bulk dump when two RS-5/9s
are connected to each other, or when you wish to store Tone,
Drum Set, Performance or System settings on an external
MIDI device as a safety backup of your RS-5/9 data.
Bulk dump procedure

Types of bulk dump
Temporary:
Settings of temporary area
User Tone:
Settings of all User Tones
User Drum Set:
Settings of all User Drum Sets
User Performance: Settings of all User Performances

System Setup:
Settings of System Setup
However, the following system setup parameters will not

be transmitted via bulk dump.
Setting the Device ID Number
GM System ON Sw
When carrying out Bulk Dump, set the Device ID number.

When shipped from the factory, this is set to 17. Normally,
there is no need to change this number when transmitting
data to a sequencer or other such device. If you do want to
change it, use the following procedure to make the settings.
GM2 System ON Sw
* If you want to make settings simultaneously for two RS-5/9s,

you must set the Device ID number of each to the same value.
Rx SysEx Sw
Device ID#
LCD Contrast
All:
All five of the above settings
1. Use a MIDI cable to connect the RS-5/9s MIDI OUT

connector to the MIDI IN connector of the external
sequencer.
3. Press [ENTER].
4. Press the numeric key [4] several times to select Device

ID#.
3. Use VALUE [-]/[+] to select Bulk Dump.
4. Press [ENTER].
fig.R08-06
5. Use the VALUE [-]/[+] to select the types of Bulk Dump.
previous item.
5. Press VALUE [-]/[+] to select the value (17 to 32).
6. Press [EDIT].
What kind of data is Bulk Dump?

This is data of the type called Exclusive messages.
Chapter 8
fig.R08-07
6. Put the external sequencer in record mode.

7. Press [ENTER] to transmit the settings.
The message Transmitting... appears in the display
during transmission of the data.
* Do not press any key on the keyboard while Bulk Dump is in
progress. Pressing a key sends Note messages from the MIDI
OUT connector. To cancel the Bulk Dump, press [EXIT].
After the transmitting is finished, the display will
indicate Completed.
8. Stop the external sequencer.
115
Setting the System Exclusive

Receive Switch
When returning saved settings to the RS-5/9, set the
Exclusive Receive switch to ON. With the factory settings,
this will be ON.
Restoring saved settings to the

RS-5/9
* Be aware that when you restore data to the RS-5/9, the data in
the RS-5/9 will be overwritten and lost.
Notes
fig.(!)
3. Press [ENTER].
4. Press the numeric key [4] several times to select System
Exclusive.
fig.R08-08
previous item.
6. Press [EDIT].

displayed.
corrupted, and you may not be able to turn the power
back on. If you have confirmed that internal data has
been lost, or if a similar problem exists, consult your
Roland dealer or Roland Service. Note, however, that
consequences arising from loss of data.
1. Use a MIDI cable to connect the MIDI OUT connector of
the external sequencer to the MIDI IN connector of the
RS-5/9.
2. Set the device ID number to the same setting as when
you performed the bulk dump.
System Setup Numeric Key [4]: Device ID (p. 115)
3. Turn on the exclusive receive switch.
System Setup Numeric Key [4]: System Exclusive (refer
to the previous section)
4. Transmit (play back) the data from the external
sequencer.
When the transmitting is finished, you are returned to
* Play back the external sequencer at the same tempo you used
when performing the bulk dump. If you use a faster tempo, the
data may not be restored correctly.
116
Chapter 9. Restoring the Original Settings

Restoring the Factory
Settings (Factory Reset)
5. Press [ENTER].
A confirmation message appears.
fig.R09-02
You can restore all User Performance, User Tone, User Drum
Set and System Setup settings to the factory condition.
* If the RS-5/9s internal memory already contains important
data that you have created, this operation will cause all of this
data to be lost. Save data that you want to retain by sending
the data to an external sequencer (p. 115).
6. Press [ENTER] to execute the Factory Reset operation.

After the Factory Reset operation is finished, the display
will indicate Completed.
Notes
Restoring GM/GM2 Basic

Settings (GM/GM2 SYSTEM ON)

being displayed.
If no GM or GM2 System On message is included at the very

beginning of a song you have created for use with a GM or
GM2 sound generator, you must restore the RS-5/9s sound
generator to the GM/GM2 basic settings before playback.

corrupted, and you may not be able to turn the power
back on. If you have confirmed that internal data has
been lost, or if a similar problem exists, consult your
Roland dealer or Roland Service. Note, however, that
consequences arising from loss of data.
Additionally, you must also restore the sound generator

settings to the GM or GM2 initial settings when creating
songs for use with GM or GM2 sound generators.
Five types of Factory Reset are provided depending on the

application.
User Tone:
Settings of all User Tones
User Drum Set:
Settings of all User Drum Sets
User Performance:
Settings of all User Performances
System Setup:
Settings of System Setup
All:
All four of the above settings

2. Use VALUE [-]/[+] to select Initialize.
3. Press [ENTER].
4. Press VALUE [-]/[+] to select GM System ON or
GM2 System ON.
fig.R09-03
5. Press [ENTER] to execute the Initialize operation.

After the Initialize operation is finished, the display will
indicate Completed.
The [UTILITY] indicator will go dark.

2. Use VALUE [-]/[+] to select Factory Reset.
3. Press [ENTER].
4. Use the VALUE [-]/[+] to select the types of Factory
Reset.
When the RS-5/9 is functioning as a GM/GM2 system

compatible sound module, the Performance Select display
will be as follows.
fig.R09-04
fig.R09-01
* To return to the normal settings mode after being set to the

GM/GM2 basic settings, you can either switch Performances,
or send a GM System Off from the external sound generator to
the RS-5/9.
117
Chapter 9
fig.(!)
Chapter 10. Performing With An External MIDI Device

About MIDI
MIDI (Musical Instruments Digital Interface) is a standard
specification that allows musical data to be exchanged
between electronic musical instruments and computers.
MIDI With a MIDI cable connecting MIDI devices that are
equipped with MIDI connectors, you can play multiple
instruments with a single keyboard, have multiple MIDI
instruments perform in ensemble, program the settings to
change automatically to match the performance as the song
progresses, and more.
If you mainly use the RS-5/9 as a standalone keyboard
instrument, you may really not need to know much at all
about MIDI. However, the following MIDI-related
information is provided so you can play the RS-5/9 using an
external MIDI device, or master other advanced techniques.
MIDI Channels and Multi-timbral

Sound Generators
MIDI transmits many types of data over a single MIDI cable.
This is made possible by MIDI channels. MIDI channels
allow messages intended for a given instrument to be
distinguished from messages intended for another
instrument. In some ways, MIDI channels are similar to
television channels. By changing the channel on a TV
receiver you can view the programs of different stations. This
is because the television set has thus been directed to
selectively display only the information being transmitted by
a particular station. In the same way, MIDI also allows a
device to select the information intended for that device out
of the variety of information that is being transmitted to it.
fig.R10-02exp
The cable from the antenna carries the TV

signals from many broadcast stations.
Station A
MIDI connectors
Station B
The RS-5/9 has the following three types of MIDI connectors.

fig.R10-01
Station C
The TV is set to the channel of the station
you wish to watch.
MIDI IN Connector
Performance messages from an external MIDI device are
received here. The RS-5/9 that receives MIDI messages can
output sounds, exchange tones, and perform other
operations.
MIDI OUT Connector

These connectors transmit MIDI messages to external MIDI
devices. The RS-5/9s MIDI OUT connector is used for
sending the performance data of the keyboard controller
section as well as data used for saving various settings (Bulk
Dump; p. 115).
MIDI THRU Connector

MIDI messages received at MIDI IN connector are retransmitted without change from this connector to an
external MIDI device. Use this in situations such as when
you use multiple MIDI devices simultaneously.
118
MIDI uses sixteen channels, numbered 116. Set the receiving

device so that it will receive only the channel that it needs to
receive.
Example:
Set the RS-5/9 to send Channel 1 and Channel 2, then set
sound module A to receive only Channel 1 and sound
module B only Channel 2. With this setup, you can get an
ensemble performance, with, for example, a guitar sound
from sound module A and bass from sound module B.
fig.R10-03exp
MIDI OUT
Transmit channel: 1, 2
MIDI keyboard
MIDI IN
Sound
Module
A
MIDI THRU
Receive channel: 1
Sound Receive channel: 2

Module
B
MIDI IN
When used as a sound module, the RS-5/9 can receive on up

to sixteen MIDI channels. Sound modules like the RS-5/9
which can receive multiple MIDI channels simultaneously to
play different sounds on each channel are called multitimbral sound modules.
MIDI messages used by the RS-5/9

MIDI uses various types of message to transmit a wide
variety of information. MIDI messages are broadly divided
into two different categories, those handled through
individual MIDI channels (Channel messages), and messages
that are not related to separate channels (System messages).
The RS-5/9 mainly uses the following MIDI messages.
Channel messages
These are messages used for relating what is happening in a
Performance. These comprise the bulk of MIDI messages.
Note On
This message is sent when a key is pressed. A Note-on
message contains the following 3 types of information.
Note-on:
A note has been played.

The amount of force (velocity) used when the
note was played
The Note Numbers fall within the range of 0127, with

middle C (C4) as number 60.
fig.R10-04exp
Control Change
These are messages used for increasing performance
expression. By assigning Modulation (CC# (Controller
Number) 1), Pan (CC#10), Expression (CC#11), and other
Control Change messages to the Modulation lever, pedals,
and knobs, you can then use these controls to change
Performances (p. 71).
Bank Select (CC#0, CC#32) switch Tones and Drum Sets, so
these are used in combination with Program Change
messages (p. 121, 123).
This category includes exclusive messages, messages used

for synchronization, and messages that keep a MIDI system
running correctly.
Exclusive messages
Exclusive messages are messages used for exchanging Tones
and other set kinds of data between compatible devices from
the same manufacturer.
Note name
C-1
0
This message changes the instrument sound. You can switch

Tones and Drums sets on the RS-5/9 using program
numbers 1128 (p. 121, 123).
System messages
Note number: which note was played

Velocity:
Program Change
C2
36
C3
48
C4
60
C5
72
C6
84
G9
127
Note number
Note Off
This message is sent when a key is released. When a Note-off
message is received, that note will be turned off. A Note-off
message contains the following 3 types of information.
Note-off:
a note was released
If messages exchanged using MIDI were limited only to

those conforming to the common MIDI standard, it would
not be possible to transmit messages particular to one
manufacturer or messages fixed for a certain device.
Therefore, with a format having been determined by each
manufacturer, a variety of different messages can then be
exchanged.
With the RS-5/9, you can use Exclusive messages to store
Tone settings and other data to sequencers (p. 115).
Note number: which note was released

The force of the pull (velocity) used when the
note was released
Pitch Bend Change

This message transmits whatever motion is made by the
Pitch Bend lever.
Aftertouch
These messages indicates how strongly the keyboard was
pressed after playing a note. There are two types of
Aftertouch message; Channel Aftertouch which applies to an
entire channel, and Polyphonic Aftertouch which applies to
an individual note.
About MIDI Implementation Charts

Although a variety of messages for performances can be
handled using MIDI, depending on the functions of the
connected device, the messages that can be sent and
received may differ. To see which types of MIDI message
a device can transmit and receive, refer to the MIDI
Implementation Chart that is included in the manual of
each device. Messages which are marked by a circle in
the charts of both devices can be transmitted between the
two devices.
The RS-5/9 cannot transmit Aftertouch messages when its keys

are pressed. Instead, you can do this by transmitting the
Aftertouch assigned to the Modulation lever, a pedal, or a knob.
119
Chapter 10
Velocity:
Playing Sounds from an

External MIDI Sound
Generator With the RS-5/9
Example 3:
Connecting to three or more external MIDI

sound generators
fig.R10-07exp
MIDI IN
MIDI Patcher
By connecting the RS-5/9 to an external MIDI device with a

MIDI cable and setting the channels, you can then produce
sounds from the external MIDI devices sound generator by
playing the RS-5/9s keyboard. You can switch the external
MIDI sound generators Tones from the RS-5/9 as well.
MIDI IN
Sound Module A
MIDI OUT
Connecting to External MIDI

Sound Generators
Example 1:
Connecting to one external MIDI sound

generator
fig.R10-05exp
MIDI IN
MIDI OUT
Sound Module A
Sound Module B
RS-5/9
* If you daisy-chain three or more MIDI devices using IN ->

THRU -> IN -> THRU ..., the MIDI signal may become
garbled, and data errors may occur. In such cases, use a MIDI
Thru Box. MIDI Thru Boxes are devices that allow a single
stream of MIDI data to be sent to a large number of MIDI
devices without causing data errors.
1. Before starting the connection procedure, make sure that
the power to all devices has been turned off.
RS-5/9
Example 2:
MIDI IN
Connecting to two external MIDI sound

generators
2. After reading Connecting the RS-5/9 to external

equipment (p. 14), connect an audio device/system or
headphones.
fig.R10-06exp
MIDI IN
MIDI THRU
Sound Module A
3. Connect the external MIDI sound device with the MIDI

cable as shown in the figure below.
4. As described in Turning On the Power (p. 15), turn on
the power of each device.
MIDI IN
Set the Keyboard Transmit Channel

MIDI OUT
Sound Module B
RS-5/9
* Messages received at the MIDI IN connector are output from

the MIDI THRU connector unchanged.
When you have finished connecting the external MIDI

device, match the keyboards Transmit channel and the
Receive channel for each of the external MIDI sound
generators Parts.
Settings
PART: Transmits performance data over the same channel
as the performing Parts Receive channel (p. 122).
116:
RS-5/9 performance data is sent over a selected channel.
Ordinarily, this is set to PART. Particularly when Key Mode

is set to Split or Dual, the performance data from the Upper
and Lower Parts are sent over separate channels. Therefore,
you can control two external MIDI sound generators.
You might want to set these to Channels 116 in situations such
as when you want to switch the RS-5/9s Parts as you play.
120
Different keyboard Transmit channel settings can be made

for each individual Performance.
Tone switching messages are sent through the keyboards

Transmit channels (refer to the information below) in the
following sequence.
1. Bank Select MSB (controller number 0) (BnH 00H mmH)

PFMCommon.
2. Bank Select LSB (controller number 32) (BnH 20H mmH)
3. Press [ENTER].
3. Program Change (CnH ppH)
4. Press the numeric key [4] several times to select

Channel.
fig.R10-08
n:
MIDI channel number
mm, ll: Bank number

pp:
Program number
* MIDI messages are not transmitted when you select a different

Tone or Drum Set by moving to a different Part.
6. Press [EDIT].
When the RS-5/9s keyboard is played, sounds are
simultaneously played by the RS-5/9 and the external
MIDI sound generator.
* For instructions on setting each of the external MIDI sound
generators Parts Receive channel, refer to the owners
manual for each device.
* If you want sounds to be played only by the external MIDI
sound generator, set the Local control to OFF (p. 124).
Selecting sounds on another

device using the RS-5/9
* These messages for sound selection are not transmitted when

you select a Performance.
* For Bank numbers and Program numbers sent with the
selection of each Tone and Drum Set, refer to (p. 123), Tone
List (p. 149, 150) and Drum Set List (p. 151154).
Transmitting Only Program Numbers

If the external MIDI sound generator receives a Bank number
for which no Tone has been assigned, an alternate Tone may
be selected, or in some cases, there may be no sound played.
To ensure the proper Tone is selected, you may be better off
selecting the Tone group for the external MIDI sound
generator first, and then transmitting only the Program
number. You can then switch tones within the same group.
To transmit only the Program number, set the Bank Select
Transmit Switch to OFF.
When you have finished making the connections and setting

the channels, try switching the external MIDI sound
generators Tones from the RS-5/9.
The Bank Select Transmit Switch affects the entire RS-5/9

(i.e., is a System setting). This setting remains stored in
memory even while the power is off.
When you switch the Tone or Drum Set with the buttons on
the RS-5/9s panel, Bank Select (Controller Number 0, 32)
and Program Change messages for the selected Tone or
Drum Set are sent from the MIDI OUT connector. The Tone
played by the external MIDI sound generator switches to the
Tone corresponding to these MIDI messages.
If the RS-5/9 is connected to a GM2-compatible sound

generator, then when choosing a GM2 format Tone, select a
Preset Tone 257512 or Drum Set 1220.
fig.R10-09
With Preset Tones 1128 and User Tones 1128, the Program
numbers output are the same as those for the corresponding
Tones. If you want to switch the Tones with attention to the
Program number, first set the Bank Select Transmit Switch to
OFF (refer to the information below), and then you can select
your Tones.

3. Press [ENTER].
4. Press the numeric key [4] several times to select Bank
Select.
previous item.
5. Use VALUE [-]/[+] to set OFF.
6. Press [EDIT].
121
Chapter 10
5. Press VALUE [-]/[+] to select the value (116, PART).
Playing the RS-5/9s Sound

Generator from an External
MIDI Device
Tone Change (Tone Change Receive Switch)

Value: OFF, ON
* Tones cannot be switched from an external MIDI device if the
Tone Change Receive Switch is set to OFF.
Next, try playing the RS-5/9 from an external MIDI device.
Connecting External MIDI Device
Different Receive Channel and Tone Change Receive Switch

settings can be made for each individual Part in a
Performance.
fig.R10-10

MIDI OUT

3. Press [ENTER].
4. Press PART [
MIDI Keyboard
MIDI IN
]/[
] to select Part.
only the Upper Part and the Lower Part.
5. Press numeric key [4] several times to select the
parameter to be set.
fig.R10-11
RS-5/9

headphones.
3. Connect the external MIDI sound generator with the
MIDI cable as shown in the figure below.
Setting the Receive Channel and

Tone Change Receive Switch
When you have finished connecting the external MIDI
device, match each Parts Receive channel with the external
MIDI devices Transmit channel.
Also, to enable Tones to be switched from the external MIDI
device, set the Tone Change Receive Switch for each Part to
ON. Factory settings have this set to ON for all Parts.
Channel (Receive Channel)

If the Receive Channel is set to a value of 116, that Part will
receive musical data on the specified channel.
Value: 116, OFF
* Since performance data cannot be received when the Receive
channel is set to OFF, no sound is produced.
122
previous item.
7. Press [EDIT].
* For instructions on setting the external MIDI devices
Transmit channel, refer to the owners manual for that device.
Selecting RS-5/9 Sounds from an

External MIDI Device
Drum Set
Group
Number
User
001, 002
Preset
Preset
1. Transmit a value for the Bank Select MSB (controller

number 0) (BnH 00H mmH) message to the RS-5/9.
2. Transmit a value for the Bank Select LSB (controller
number 32) (BnH 20H mmH) message to the RS-5/9.
Transmitting Bank Select (Controller Number 0, 32) and

Program Change messages from the external MIDI device to
the RS-5/9 allows you to switch Tones and Drum Sets.
3. Transmit a Program Change (CnH ppH) to the RS-5/9.

* With Bank Selects and Program Changes, you cannot switch
Performances using an external MIDI device connected to the
RS-5/9.
Bank Number
MSB
LSB
Program
Number
64
00
001, 002
001011
65
00
001011
012
120
00
001
Preset
013
120
00
009
Preset
014
120
00
017
Preset
015
120
00
025
Preset
016
120
00
026
Preset
017
120
00
033
Preset
018
120
00
041
Preset
019
120
00
049
Preset
020
120
00
057
Bank Number/Program Number

Correspondence Table
Using an External MIDI Controller

to Change the RS-5/9s Tones
The MIDI messages transmitted by the external MIDI device

will be received by the RS-5/9 to select Tones/Drum Sets as
shown in the following table.
Use of the Modulation lever, pedals, and control knobs to

make changes to the RS-5/9s Tones in real time is explained
in Chapter 4.
If the Program numbers on your external MIDI device

are referenced as values from 0 to 127, find the
appropriate number by subtracting 1 from the number in
the following correspondence chart.
Transmitting Controller numbers set with Modulation

Assign (p. 71), Control Pedal Assign (p. 73), and Knob Assign
(p. 74) to the RS-5/9 achieves the same effect as working the
Modulation lever, pedals, and knobs.
* When the RS-5/9 receives a Program Change message without

receiving the Bank Select, it switches to the Tone or Drum Set
with the same Bank number as the currently selected Tone or
Drum Set.
Tone
Group
Number
MSB
Bank Number
LSB
Program
Number
User
001128
64
00
001128
Preset
001128
65
00
001128
Preset
129256
66
00
001128
Chapter 10
* For Bank numbers and Program numbers corresponding to

Preset Tone numbers 257512, refer to (p. 149, 150).
123
Chapter 11. Recording Performances on the

RS-5/9 to an External Device
Recording to an External
Sequencer
Now, try using an external sequencer to record your music
onto multiple tracks, and then play back the recorded
performance.
Connecting to an External
Sequencer
fig.R11-01exp
Setting the RS-5/9s Local Control to OFF

The setting that determines whether the keyboard controller
section (p. 62) and sound generator section are separated is
referred to as Local Control.
When Local Control is on, playing the keyboard will produce
sound, and moving the pitch bend lever will control the pitch.
When Local Control is off, playing the keyboard will not
produce sound, and moving the pitch bend lever will not
control pitch. The sound source of the RS-5/9 will produce
sound only in response to messages received from an
external MIDI device.
fig.R11-02exp
MIDI IN
Sequencer
MIDI OUT
Recording
Set to Thru
Function On.
MIDI Sequencer
MIDI IN
All performance data

that arrives at MIDI IN
will be output from
MIDI OUT.
MIDI IN
MIDI OUT
MIDI OUT
MIDI IN
MIDI OUT
Sound Generating
Section
RS-5/9

headphones.
3. Connect the RS-5/9 and the external sequencer as shown
in the figure.
Making Settings Before Recording

When recording to an external sequencer, the following steps
must be carried out.
Set the RS-5/9s Local Control to OFF (refer to the next
section).
Turn on the external sequencers Thru function (p. 125).
Set to
Local Off.
Keyboard Controller
Section
While at this setting,

the RS-5/9's keyboard
and controllers are
disconnected from
the sound generating
section, so they will not
directly control it.
RS-5/9
The performance data from the RS-5/9s keyboard controller
section is output from the MIDI OUT connector and recorded
by the sequencer. This performance data is then also output
back to the RS-5/9 from the sequencers MIDI OUT
connector and played by the RS-5/9s sound generator.
If Local Control were ON, each note would be played twice;
once by the musical data from the keyboard controller
section, and once again by the data sent from the sequencer.
In order to prevent such double triggering, the Local Control
setting is turned off to separate the keyboard controller
section from the sound source section.
Set the Performance (p. 125).

Set the Device ID number (p. 125).
The Local Control setting affects the RS-5/9 as a whole (i.e.,

is a system setting). This setting remains stored in memory
even while the power is off.
124
Chapter 11. Recording Performances on the RS-5/9 to an External Device
3. Press [ENTER].
Setting the Device ID Number
4. Press [4] a number of times to select Local Control.
Set the Device ID Number (p. 115) so that the Performances

settings are recorded at the beginning of the song (refer to the
next section).
previous item.
5. Use VALUE [-]/[+] to set OFF.
6. Press [EDIT].
* If your sequencer does not have a Thru function, set the RS-5/
9s Local Control to ON.
* Regardless of the Local Control setting, musical data from an
external MIDI device is always received and will play the
internal sound source.
Turning On the External Sequencers

Thru Function
Turn the sequencers Thru function ON. The sequencer takes
the performance data received at the MIDI IN connector and
outputs the data unchanged from the MIDI OUT connector
(refer to the previous section).
To determine whether or not your sequencer features a MIDI
Thru function and for instructions on making the Thru function
settings, refer to the owners manual for your sequencer.
* If your sequencer does not have a Thru function, set the RS-5/
9s Local Control to ON.
Setting the Performance

Before beginning to record, first make the Performance
settings (select the Tones and Key mode, make any multieffects, chorus, and reverb settings, set the knobs, and so on).
The following settings are especially important.
Setting the Keyboard Send Channel to PART

(p. 120)
If this is set to PART, your playing will be transmitted on the
same channel as the Receive Channel of the Part that you are
playing. When recording to a sequencer, set this to PART.
Setting the Receive Channel for Each Part (p. 122)
Setting the Tone Change Receive Switch for

Each Part to ON (p. 122)
Recording
Recording the Performances Settings
at the Beginning of the Song
First, record the Performance settings at the beginning of the
song. If this is done, playing back the song from the
beginning will automatically set the RS-5/9 to the
Performance settings that were used during recording
(regardless of the Performance that was selected when
playback began), ensuring that playback will use the correct
sounds and settings.
* Record the song at the tempo at which it is to be played back. If
the tempo used for playback of a song is changed from the
tempo selected at the time of recording, the RS-5/9 may not be
able to correctly receive the settings for the recorded
Performance, which may prevent proper playback of the
performance data.
2. Use VALUE [-]/[+] to select Bulk Dump.
3. Press [ENTER].
4. Use VALUE [-]/[+] to select Temporary.
fig.R11-04

* Do not press any key on the keyboard while Bulk Dump is in
progress. Pressing a key sends Note messages from the MIDI
OUT connector. To cancel the Bulk Dump, press [EXIT].
indicate Completed.
125
Chapter 11
fig.R11-03
Recording Each Part Separately

Next we will record the musical data for each Part onto
separate tracks of the sequencer. So as not to erase the
Performance settings that we recorded at the beginning of
the song, we will start recording the song from the following
measure which recorded the Performance settings.
We will record tracks in the order of drums -> bass ->
accompaniment -> melody, while listening to the tracks that
were recorded on previous passes.
For example, assign Tones to each Part as shown below.
Drums:
Part 10
Bass:
Part 2
Transposing Playback of
Performances (Master Key Shift)
If you wish to transpose the playback of a song, use the
Master Key Shift setting. This setting will transpose all Parts
except for the Drum Part. You can specify a transposition of
up to +/-2 octaves in semitone steps.
The Master Key Shift setting is a system setting that is
applied to the entire RS-5/9 (i.e., is a system setting). This
setting remains stored in memory even while the power is
off.
Accompaniment: Part 4
Melody:
3. Press [ENTER].
Part 1
* Tone changes, and the actions of the Pitch Bend lever,

Modulation lever, knobs, and other controls are also recorded.
4. Press the numeric key [4] several times to select Master

Key Shift.
* It is not necessary to record the song at the tempo at which it is

to be played back.
fig.R11-05
Listening to the Recorded Performance

When you finish recording all Parts, playback and listen to
the result. Note the following when playing back a song.
* If you modify the settings of each Part (volume and panning
etc.), you will need to re-record the modified Performance
settings at the beginning of the song. (p. 125)
previous item.
6. Press [EDIT].
Set the System Exclusive Receive Switch to ON (p. 116)

When set to OFF, the Performance settings recorded at the
beginning of the song cannot be received. With the factory
settings, this will be ON.
Set the Same Device ID Number Used for

Recording (p. 115)
If not set to the same Device ID number, the Performance settings
recorded at the beginning of the song cannot be received.
Make Sure to Start Playback at the Beginning

of the Song
When playback of a song is started at any point other than the
beginning, the Performance settings at the time of recording
are not used, and the song is not played back correctly.
Playing Together with the Playback

of a Recorded Performance
You can play the RS-5/9s keyboard along with a previous
performance by playing while the recorded material is
played back. In this case, select a Part that was not recorded
for playing the keyboard.
126
Enjoying Computer Music

You can use a computer and sequencer software instead of a
hardware sequencer to record the music you play onto
multiple tracks (perhaps over a number of sessions), and
then play back the recorded result.
Connecting a Computer
When connecting the RS-5/9 to a computer, one of the
following is required.
USB MIDI interface cable (Roland ED UM-1)
USB MIDI interface (Roland ED UM-2/4) and MIDI
cable
Interface equipped with a MIDI connector (Roland Super
MPU ll) and MIDI Cable
MIDI interface adapter and MIDI Cable
Connect the RS-5/9 to your computer using the method that is appropriate for your setup.
1. Before starting the connection procedure, make sure that the power to all devices has been turned off.
2. After reading Connecting the RS-5/9 to external equipment (p. 14), connect an audio device/system or headphones.
3. Connect the RS-5/9 and the computer as shown below.
4. As described in Turning On the Power (p. 15), turn on the power of each device.
fig.R11-06exp
RS-5/9 Rear Panel

Computer
UM-1
USB Connector
of your Computer
RS-5/9 Rear Panel
Computer
UM-2
USB Connector
of your Computer
USB Cable
MIDI Cable
MIDI Cable
RS-5/9 Rear Panel
Computer
UM-4
USB Connector
of your Computer
USB Cable
MIDI Cable
MIDI Cable
RS-5/9 Rear Panel
PC
MIDI
Interface
MIDI OUT
MIDI IN
MIDI Cable
MIDI Cable
Chapter 11
RS-5/9 Rear Panel
DI
MI
IN
Modem or
Printer Port
OU
T
Apple Macintosh series
MIDI Interface Adapter
MIDI Cable
MIDI Cable
127
Making Settings Prior to Recording,

Recording, and Listening to the
Recorded Performance
You can record and listen to performances using the same
procedures used with an external sequencer connected. Refer
to (p. 124126).
* When reading this portion, just replace sequencer with
sequencer software or computer whenever it appears in
the text.
Using the RS-5/9 as a GM/GM2

System-Compatible Sound Module
You can play back music data designed for GM and GM2
sound generators by connecting an external sequencer and
using the RS-5/9 as a sound module.
* For instructions on connecting the external sequencer, refer to
(p. 124).
* When the RS-5/9 receives a GS Reset message, the RS-5/9 is
enabled for the GS format (a shared set of specifications
proposed by Roland for standardization of multi-timbral sound
modules). This permits playback of music data bearing the GS
logo (GS music data). However, Rolands Sound Canvas
Series (including the SC-8850 and SC-8820 models) feature a
different sound module format and expanded tone map, so data
created exclusively for the Sound Canvas Series may not play
back properly on the RS-5/9.
Make Sure to Play Back from the Beginning of

the Song
When playback of a song is started at any point other than
the beginning, the sound generator settings are not reset to
the GM and GM2 initial settings values, and the song is not
played back correctly.
* If you want to play back a song in which a message resetting
the sound generator to the initial settings values (GM Setup
message or GM2 Setup message) was not recorded, you must
first restore the RS-5/9s sound generator to the GM/GM2
basic settings (p. 117).
Set the GM System On Receive Switch or GM2

System On Receive Switch to ON
When set to OFF, GM System On and GM2 System On MIDI
messages cannot be received. When shipped from the
factory, both of these are set to ON.
The GM System On Receive Switch and GM2 System On
Receive Switch settings affect the RS-5/9 as a whole (i.e., are
system settings). This setting remains stored in memory even
while the power is off.
3. Press [ENTER].
4. Press [4] a number of times to select GM SYSTEM. or
GM2 SYSTEM.
fig.R11-07
Playing Back GM/GM2 Music

Data
Be sure to note the following when playing back GM or GM2
music data.
Set the System Exclusive Receive Switch to ON

(p. 116).
When set to OFF, GM System On and GM2 System On MIDI
messages cannot be received. With the factory settings, this
will be ON.
128
previous item.
6. Press [EDIT].
The songs can be created in basically the same way as that

described in Recording to an External Sequencer (p. 124
126). The main difference is that the following three issues
need to be taken into account:
Restoring the GM/GM2 basic settings
Limits on the Tones that can be used
Instead of Performance settings, a GM Setup message or
GM2 Setup message is recorded at the beginning of the
song
Restoring the GM/GM2 Basic Settings

Before making the Performance settings (p. 125), reset the
sound generator settings to the GM or GM2 initial settings (p.
117).
Tones That Can Be Used

You can only use the following GM/GM2-specified Tones.
Although the Performance settings are made before
recording, in this case, select your Tones from the following.
GM-Specified Tones
Tones:
Tones in Preset:257512 with a Bank Select LSB

of 0 (p. 149, 150)
Drum Sets:
B1A5 (Note Numbers 3581) in Preset:12
* Assign Drum Sets to Part 10 and Tones to all other Parts.
GM2-Specified Tones
Tones:
Preset:257512
Drum Sets:
Preset:1220
* You can assign Drum Sets to as many as two Parts of your

choice.
Recording a GM Setup Message or

GM2 Setup Message at the Beginning
of the Song
The GM Setup message and GM2 Setup message are
messages that reset the sound generator setting to the initial
settings values for the GM System or GM2 System. When
playing back songs for use with GM- and GM2-compatible
sound generators, first record a GM Setup message or GM2
Setup message at the beginning of the song. If this data is
included at the beginning of the song, the sound source will
always be set appropriately, and the song will play back
correctly.
* Record the song at the tempo at which it is to be played back. If
the tempo used for playback of a song is changed from the
tempo selected at the time of recording, the RS-5/9 may not be
able to correctly receive the GM or GM2 Setup message, which
may prevent proper playback of the performance data.
2. Use VALUE [-]/[+] to select Tx Setup.
3. Press [ENTER].
4. Press VALUE [-]/[+] to select GM Setup. or GM2
Setup.
fig.R11-08

indicate Completed.
Chapter 11
Creating Songs for GM and GM2

System Sound Generators
129
What is General MIDI Setup data?

General MIDI Setup data consists of MIDI messages such as the following.
GM System On Message (System Exclusive Message: F0H 7EH 7FH 09H 01H F7H)
The following values for Parts 116
Bank Select (CC#00 and CC#32: BnH 00H vvH BnH 20H vvH)
Program Change (CnH ppH)
Portamento Time (CC#05: BnH 05H vvH)
Volume (CC#07: BnH 07H vvH)
Panning (CC#10:BnH 0AH vvH)
Portamento Switch On/Off (CC#65: BnH 41H vvH)
Filter Resonance (CC#71: BnH 47H vvH)
Release Time (CC#72: BnH 48H vvH)
Attack Time (CC#73: BnH 49H vvH)
Cutoff (CC#74: BnH 4AH vvH)
Decay Time(CC#75: BnH 4BH vvH)
LFO Rate (CC#76: BnH 4CH vvH)
LFO Depth (CC#77: BnH 4DH vvH)
LFO Delay (CC#78: BnH 4EH vvH)
Reverb Send Level (CC#91: BnH 5BH vvH)
Chorus Send Level (CC#93: BnH 5DH vvH)
Solo Switch On/Off (CC#126/CC#127: BnH 7EH 00H/BnH 7FH 00H)
Pitch Bend Range (RPN, CC#06, RPN Null: BnH 65H 00H BnH 64H 00H BnH 06H vvH BnH 65H 7FH BnH 64H 7FH)
Fine Tune
(RPN, CC#06, CC#38, RPN Null: BnH 65H 00H BnH 64H 01H BnH 06H vvH BnH 26H vvH BnH 65H 7FH BnH 64H 7FH)
Key Shift (RPN, CC#06, RPN Null: BnH 65H 00H BnH 64H 02H BnH 06H vvH BnH 65H 7FH BnH 64H 7FH)
* CC#: Controller Number
n:
MIDI channel
pp: Program number

vv: data
* Depending on the connected GM or GM2 sound generator, certain MIDI data may not received.
The GM2 Setup message consists of the following MIDI data.
GM2 System On Message (System Exclusive Message: F0H 7EH 7FH 09H 03H F7H)
The following values for Parts 116
Contains the same data as that in the GM Setup message.
130
Appendices
131
Troubleshooting
If your system is not operating as you think it should be, first check the following points. If after checking these points the
problem persists, consult your dealer or local Roland Service Station.
* If any sort of message is being displayed on the screen during an operation, refer to Error Messages/Message List (p. 135).
No Power
Is the AC Adapter plugged into the power
socket correctly?
No Sound
Is the power for the connected amp and
speakers turned on?
Is the volume turned down?
Check the volume settings for the RS-5/9 and any
connected amp or mixer.
Are the components properly connected?

(p. 14, 120, 122, 124, 127)
If you are able to hear sound through headphones, this
may suggest a short in a cable or a malfunctioning amp
or mixer. Recheck connector cables and the connected
equipment.
If no sound is produced when you press keys

on the keyboard, is Local control set to OFF?
Set Local Control to ON (p. 124).
Do the transmission and reception channels

match?
If using the RS-5/9 to sound an external MIDI sound
generator, check to make sure the channels being used
for transmission by the keyboard are matched up with
the channels used for reception by the relevant Parts on
the external MIDI sound generator (p. 120).
If using an external MIDI device to sound the RS-5/9,
each Part's reception channel needs to be set so it
matches the channels that will be used for transmission
by the external MIDI device (p. 122).
Have the Part Level settings been lowered?

Check the settings (p. 66).
Have you switched the RS-5/9 mode to that

for listening to demo songs?
Either press [EXIT], or simultaneously press [SHIFT] and
[TRANSPOSE ON/OFF] to return to regular
performance mode.
132
Are the effects settings correct?

Check effects ON/OFF (p. 79), multi-effects levels
(p. 82106), and other related settings.
Are volume levels being lowered by pedal

movements, or by MIDI messages (expression
messages) received from an external MIDI
device?
Use the Panic function to raise the volume level (p. 65).
The Pitch is Off

Could Transpose be on?
Press [TRANSPOSE ON/OFF] to turn Transpose off.
Are the Key Shift settings correct?

Are the Scale Tune settings correct?

Are the Master Key Shift settings correct?

Are the Master Tune settings correct?

Is it possible that an external MIDI device is

constantly sending Pitch Bend messages?
Use the Panic function to restore the original settings
(p. 65).
Troubleshooting
Could a Solo switch be set to ON?

When a Solo switch (p. 67) is on, only one sound is
played even when more than one key is pressed. If you
want multiple sounds to play simultaneously, set the
Solo switch to OFF.
Some sounds are dropped when the number

of voices simultaneously being played
exceeds 64 voices.
Set Voice Reserve higher for an important Part, to help
assure that it will always be sounded (p. 64).
Effects Not Being Applied

Are the effects switches set to OFF?
Are the Chorus settings correct?

Check the Chorus Send Level (p. 108), Chorus Level (p.
107), and Chorus Depth (p. 108) settings.
Are the Reverb settings correct?

Check the Reverb Send Level (p. 109) and Reverb Level
(p. 109) settings.
Is the Multi-Effects Source set to LOWER while

Key Mode is set to Single?
The Part to which effects are applied is determined by
the Multi-Effects Source setting. Therefore, when in
Single mode, set the Multi-Effects Source to UPPER or
PERFORMANCE (p. 80).
Is any Part's Multi-Effects switch set to OFF?

When a Part's Multi-Effects Source is set to
PERFORMANCE, set the Multi-Effects switch for the
part being used to ON (p. 107).
Song Data Cannot Be Played

Back Correctly
Is the GM System On Receive Switch or GM2
System On Receive Switch set to OFF?
Set these Receive switches to ON (p. 128).
Did you start playback at some point other

than the beginning of the song?
Songs meant for playback with GM System and GM2
System sound generators have a GM/GM2 System On
message recorded at the beginning of the song. If this
message is not received, the song data may not play back
correctly.
Are the Performance settings recorded at the

beginning of the song?
If the Performance settings are not recorded at the
beginning of the song, the status of the Performance at
the time of recording cannot be reproduced, which
prevents proper playback. When recording a song, make
sure to record the Performance settings at the beginning
of the song (p. 125).
If playing back a song that you have created

for playback on GM or GM2 System sound
generators, has the GM Setup message or
GM2 Setup message been recorded at the
beginning of the song?
If no GM Setup message or GM2 Setup message is
recorded at the beginning of the song, the sound
generator settings are not restored to initial GM System
or GM2 System status, which prevents proper playback.
When recording a song that is to be played back using a
GM or GM2 System sound generator, make sure to
record a GM Setup message or GM2 Setup message at
the beginning of the song (p. 129).
Are you playing back GS Format song data?

When the RS-5/9 receives a GS Reset message, it enters a
mode that provides compatibility with GS Format song
data. While this means the RS-5/9 can then play back
music data bearing the GS logo (GS music data), music
data created expressly for use only with Roland's Sound
Canvas Series may not play back correctly.
133
Troubleshooting
Sounds Are Missing
Troubleshooting
Cannot Play Arpeggios

Is the MIDI clock being received when Sync
Source (p. 77) is set to MIDI?
Set the system so that the MIDI clock is received from the
external MIDI device. Certain MIDI devices you may
have connected may not send the MIDI clock to the RS5/9 except during recording or playback.
MIDI Messages Not

Transmitted Correctly
Are the transmission channel settings correct?
Are the Bank Select transmission switch

settings correct?
Sound Does Not Stop When

Key is Pressed
Is the Hold pedal polarity reversed?
Check the HOLD PEDAL Polarity setting (p. 73).
MIDI Messages Not Received

Correctly
Are the Receive channel settings correct?
Is each Receive switch set correctly?

Check the Tone Change Receive switch (p. 122), GM
System On Receive switch (p. 128), GM2 System On
Receive switch (p. 128), and Exclusive Receive switch (p.
116) settings.
Are Device ID number settings correct?

Set the Device ID number (p. 115) used when the
Exclusive message was recorded to the sequencer.
Is the sequencer playback tempo correct?

Play back the data on the sequencer at the tempo used
when the Exclusive message was recorded to the
sequencer (p. 125).
134
Using Sequencer Software,

Modulation Lever and Knob
Movements Have No Effect
on the Sound
Some types of sequencer software may not
allow Soft Thru (i.e., data received at the MIDI
IN connector is not sent from the MIDI OUT
connector as is) for Exclusive messages.
When recording Exclusive messages with such
sequencer software, set Local Control to ON (p. 124).
Error Messages/Message List

This section explains the meaning of the various error messages and other messages that the RS-5/9 may display, and describes
the measures to take when these appear.
Error and other messages appearing here are listed in alphabetical order.
Error Message List
Message List
fig.Message-01
fig.Message-07
Cause:
There is a mistake in the checksum value for the

received System Exclusive message.
Solution: Correct the checksum value.
Bulk Dump is in progress.

fig.Message-08
fig.Message-02
Bulk data is being received. Do not turn off the power.

Cause:
The data cannot be processed correctly due to an

excessive number of MIDI messages.
fig.Message-03
Solution: Reduce the number of MIDI messages being

received.
Processing is canceled.
fig.Message-09
Cause:
There is a problem with the MIDI cable

connection.
Solution: Check to make sure no cable has been

disconnected, and that there are no shorts.
Processing is complete.
fig.Message-04
fig.Message-10
Cause:
MIDI messages could not be received correctly.
Solution: If this same message continues to reappear, it

means that there is a mistake in the content of the
MIDI message.
One or more tones have not been saved. Save the Tone or
Drum Set data before changing the settings, then save the
Performance once more.
fig.Message-05
fig.Message-11
Cause:
There is an error in the memory used for storage

of User Area and System Setup data.
Solution: Consult your dealer or local Roland service for

repair.
GM Setup data is being transmitted.

fig.Message-12
fig.Message-06
GM2 setup data is being transmitted.

Cause:
User Memory data has been corrupted.
Solution: Carry out the Factory Reset operation (p. 21) to

restore the factory settings.
135
fig.Message-13
Processing is in progress. Do not turn off the power.

fig.Message-14
Factory Reset is in progress. Do not turn off the power.

fig.Message-15
Data is being saved. Do not turn off the power.

fig.Message-16
The Panic function has been activated. To get the sound to

stop, the muting circuits have been engaged.
fig.Message-17
The Panic function has been activated. Data for resuming

sound now being transmitted.
136
Parameter List
Performance
Set Using the Panel Buttons
Full Name of Parameter
Key Mode
Arpeggio Switch
Transpose Switch
Value
SINGLE, DUAL, SPLIT
OFF, ON
OFF, ON
(p. 34)
(p. 75)
(p. 48)
Numeric Key [3] (PFM NAME/LEVEL/PAN)

Parameter Name
Name

Performance Name
Value
ASCII Character (max. 12)
(p. 113)
Value
116, PART
(p. 120)
Numeric Key [4] (MIDI/TUNE)

Parameter Name
MIDI Tx Channel

MIDI Transmit Channel
Numeric Key [5] (CONTROL)

Parameter Name
MOD
PEDAL
CONTROL1
CONTROL2

Modulation Assign
Control Pedal Assign
Knob 1 Assign
Knob 2 Assign
Value
*
*
*
*
(p. 71)
(p. 73)
(p. 74)
(p. 74)
CONTROL3
CONTROL4
Knob 3 Assign
Knob 4 Assign
*
*
(p. 74)
(p. 74)
* MODULATION, PORTAMENTO TIME, VOLUME, PAN, EXPRESSION, PORTAMENTO, SOSTENUTO, SOFT, RESONANCE, RELEASE TIME,
ATTACK TIME, CUTOFF, DECAY TIME, LFO RATE, LFO DEPTH, LFO DELAY, CHO SEND LEVEL, REV SEND LEVEL, UP-LO BALANCE,
MFX PARAMETER 1, MFX PARAMETER 2, AFTERTOUCH
Numeric Key [6] (MULTI-FX)

Parameter Name
Source
Type

Multi-Effects Source
Multi-Effects Type
Value
UPPER, LOWER, PERFORMANCE
*1
(p. 80)
(p. 81)
* When Source is set to PERFORMANCE, Type and parameter settings are set to the Performance settings.
* Refer to (p. 142146) the Type parameters.
00 THROUGH, 01 STEREO EQ, 02 OVERDRIVE, 03 DISTORTION, 04 PHASER, 05 SPECTRUM, 06 ENHANCER, 07 AUTO WAH, 08 ROTARY,
09 COMPRESSOR, 10 LIMITER, 11 HEXA-CHORUS, 12 TREML CHORUS, 13 SPACE-D, 14 STEREO CHO, 15 STEREO FLNGR,
16 STEP FLANGER, 17 STEREO DELAY, 18 MODLT DELAY, 19 TRI TAP DELY, 20 QUAD TAP DLY, 21 T CTRL DELAY, 22 2V PCH SHIFT,
23 FBK PCH SIFT, 24 REVERB, 25 GATED REVERB, 26 OD>CHORUS, 27 OD>FLANGER, 28 OD>DELAY, 29 DIST>CHORUS,
30 DIST>FLANGER, 31 DIST>DELAY, 32 ENH>CHORUS, 33 ENH>FLANGER, 34 ENH>DELAY, 35 CHORUS>DELAY, 36 FLNGR>DELAY,
37 CHORUS>FLNGR, 38 CHORUS/DELAY, 39 FLNGR/DELAY, 40 CHORUS/FLNGR, 41 LOFI, 42 SLICER
Parameter List
*1
137
Parameter List
Numeric Key [7] (CHORUS)

Parameter Name
Type

Chorus Type
Pre-LPF
Level
Feedback
Delay
Rate
Depth
Send Levl to Rev
Chorus Pre-Low Pass Filter

Chorus Level
Chorus Feedback Level
Chorus Delay Time
Chorus Rate
Chorus Depth
Chorus Send Level to Reverb
Value
CHORUS1, CHORUS2, CHORUS3, CHORUS4,
FEEDBACK CHORUS, FLANGER, SHORT DELAY,
SHORT DELAY(FB)
07
0127
0127
0127
0127
0127
0127
(p. 107)
(p. 107)
(p. 107)
(p. 107)
(p. 108)
(p. 108)
(p. 108)
(p. 108)
Numeric Key [8] (REVERB)

Parameter Name
Type

Reverb Type
Character
Pre-LPF
Level
Time
Reverb Character
Reverb Pre-Low Pass Filter
Reverb Level
Reverb Time
Value
ROOM1, ROOM2, ROOM3, HALL1, HALL2, PLATE,
DELAY, PANNING DELAY
07
07
0127
0127
Delay Feedback
Reverb Delay Feedback
0127
(p. 109)
Value
-36 +36
C-1G9
116
116
(p. 48)
(p. 40)
(p. 39)
(p. 39)
(p. 109)
(p. 109)
(p. 109)
(p. 109)
(p. 109)
Numeric Key [9] (KEYBOARD)

Parameter Name
Transpose
Split Point
Upper Part
Lower Part

Transpose
Split Point
Upper Part
Lower Part
Numeric Key [0] (ARPEGGIO)
138
Parameter Name
Style
Motif
Beat Ptrn
Tempo

Arpeggio Style
Motif
Beat Pattern
Tempo
Octave Range
Key Velocity
Shuffle Rate
Accent Rate
Sync Source
Octave Range
Key Velocity
Shuffle Rate
Accent Rate
Sync Source
Value
*1
*2
*3
20250 (When Sync Source is set to MIDI, Tempo(=MIDI)
appears in the display.)
-3 +3
1127, REAL
5090 [%]
0100 [%]
INT, MIDI
(p. 75)
(p. 76)
(p. 76)
(p. 76)
(p. 77)
(p. 77)
(p. 77)
(p. 77)
(p. 77)
*1
1/4, 1/6, 1/8, 1/12, 1/16, 1/32, PORTAMENTO AB, GLISSANDO, SEQUENCE AD, ECHO, SYNTH BASS, HEAVY SLAP, LIGHT SLAP,
WALK BASS, RHYTHM GTR AE, 3 FINGER GTR, STRUM GTR UP, STRUM GTR DOWN, STRUM GTR U&D, PIANO BACKING,
CLAVI CHORD, WALTZ, SWING WALTZ, REGGAE, PERCUSSION, HARP, SHAMISEN, BOUND BALL, RANDOM, BOSSA NOVA, SALSA,
MAMBO, LATIN PERC, SAMBA, TANGO, HOUSE, LIMITLESS
*2
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM,
TRIPLE UP, TRIPLE DOWN, TRIPLE UP&DOWN, TRIPLE RANDOM, NOTE ORDER, GLISSANDO, CHORD, BASS+CHORD 15, BASS+UP 1
8, BASS+RANDOM 13, TOP+UP 16, BASS+UP+TOP
*3
1/4, 1/6, 1/8, 1/12, 1/16 13, 1/32 13, PORTA-A 0111, PORTA-B 0115, SEQ-A 17, SEQ-B 15, SEQ-C 12, SEQ-D 18, ECHO 13, MUTE 0116,
STRUM18, REGGAE12, REFRAIN12, PERC14, WALKBS, HARP, BOUND, RANDOM, BOSSA NOVA, SALSA 14, MAMBO 12, CLAVE,
REV CLA, GUIRO, AGOGO, SAMBA, TANGO 14, HOUSE 12
Parameter List
Performance Part
Numeric Key [3] (PFM NAME/LEVEL/PAN)
Parameter Name
Level
Pan

Level
Pan
Value
0127
RANDOM, L63063R
(p. 66)
(p. 66)
Value
116, OFF
OFF, ON
-24 +24
-100 +100 [cent]
-64 +63
(p. 122)
(p. 122)
(p. 69)
(p. 69)
(p. 70)
Value
0 +24
064
TONE, DRUM1, DRUM2
(p. 50)
(p. 64)
(p. 31)
Value
OFF, ON
(p. 107)

Parameter Name
Channel
Tone Change
Key Shift
Fine Tune
Scale Tune CB

Receive Channel
Tone Change Receive Switch
Key Shift
Fine Tune
Scale Tune CB

Parameter Name
Pitch Bend Range
Voice Reserve
Tone Type

Pitch Bend Range
Voice Reserve
Tone Type

Parameter Name
Switch

Multi-Effects Switch
* These settings can be made only when Source (p. 80) is set to PERFORMANCE.
Numeric Key [7] (CHORUS)

Parameter Name
Send Level

Chorus Send Level
Value
0127
(p. 108)
Value
0127
(p. 109)
Value
OFF, ON
OFF, ON
0127
0127
0127
(p. 67)
(p. 67)
(p. 67)
(p. 68)
(p. 68)
Numeric Key [8] (REVERB)

Parameter Name
Send Level

Reverb Send Level
Parameter Name
Solo Switch
Portamento Sw
Portamento Time
Velo Sens Depth
Velo Sens Offset

Solo Switch
Portamento Switch
Portamento Time
Velocity Sens Depth
Velocity Sens Offset
Parameter List
Numeric Key [9] (KEYBOARD)
139
Parameter List
Tone
Numeric Key [1] (TONE)
Parameter Name
Tone Name
LFO Rate
LFO Depth
LFO Delay
LFO Filter Sw
Filter Cutoff
Filter Resonance
Envelope Attack
Envelope Decay
Envelope Release

Tone Name
LFO Rate
LFO Depth
LFO Delay
LFO Filter Switch
Filter Cutoff
Filter Resonance
Envelope Attack Time
Envelope Decay Time
Envelope Release Time
Value
-64 +63
-64 +63
-64 +63
OFF, ON
-64 +63
-64 +63
-64 +63
-64 +63
-64 +63
(p. 110)
(p. 110)
(p. 110)
(p. 110)
(p. 110)
(p. 110)
(p. 110)
(p. 110)
(p. 110)
(p. 110)
Value
*1
(p. 81)

Parameter Name
Type

Multi-Effects Type
* Type and parameter settings are set to the Tone's settings in the following cases:
When Source (p. 80) is set to UPPER and a Tone is assigned to the Upper Part
When Source (p. 80) is set to LOWER and a Tone is assigned to the Lower Part
*1
Drum Set
Numeric Key [2] (DRUMS)
Parameter Name
DrumSet Name
Pitch
Level
Pan
Reverb Depth

Drum Set Name
Pitch
Level
Pan
Reverb Depth
Value
-60 +67
0127
RANDOM, L63063R
0127
(p. 112)
(p. 112)
(p. 112)
(p. 112)
(p. 112)
Value
*1
(p. 81)

Parameter Name
Type

Multi-Effects Type
* Type and parameter settings are set to the Drum Set's settings in the following cases:
When Source (p. 80) is set to UPPER and a Drum Set is assigned to the Upper Part
When Source (p. 80) is set to LOWER and a Drum Set is assigned to the Lower Part
*1
140
Parameter List
System
Set Using the Panel Buttons
Multi-Effects Switch
Chorus Switch
Reverb Switch
Favorite Performance Bank [1] [8]
Value
OFF, ON
OFF, ON
OFF, ON
Performance Group and Number
(Preset:1128, User:1128)
(p. 79)
(p. 79)
(p. 79)
(p. 58)

Parameter Name
Local Control
GM SYSTEM
GM2 SYSTEM
System Exclusive
Bank Select
Device ID#

Local Control
GM System On Receive Switch
GM2 System On Receive Switch
System Exclusive Receive Switch
Bank Select Transmit Switch
Device ID Number
Value
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
1732
(p. 124)
(p. 128)
(p. 128)
(p. 116)
(p. 121)
(p. 115)
Master Key Shift

Master Tune
Master Key Shift

Master Tune
-24 +24
415.3440.0466.2 [Hz]
(p. 126)
(p. 18)
Value
18
STANDARD, REVERSE
STANDARD, REVERSE
(p. 16)
(p. 73)
(p. 73)
Parameter Name
LCD Contrast
CONTROL PEDAL Polarity
HOLD PEDAL Polarity

LCD Contrast
Control Pedal Polarity
Hold Pedal Polarity
Parameter List
141
Parameter List
Multi-Effect
05: SPECTRUM (p. 84)
01: STEREO EQ (Stereo Equalizer)

(p. 82)
Parameter Name
Low Freq
Low Gain
High Freq
High Gain
Mid1 Freq
Mid1 Q
Mid1 Gain
Mid2 Freq
Mid2 Q
Mid2 Gain
Level

Low Frequency
Low Gain
High Frequency
High Gain
Middle 1 Frequency
Middle 1 Q
Middle 1 Gain
Middle 2 Frequency
Middle 2 Q
Middle 2 Gain
Output Level
Value
200, 400 [Hz]
-15 +15 [dB]
4000, 8000 [Hz]
-15 +15 [dB]
2008000 [Hz]
0.5, 1.0, 2.0, 4.0, 8.0
-15 +15 [dB]
2008000 [Hz]
0.5, 1.0, 2.0, 4.0, 8.0
-15 +15 [dB]
0127
02: OVERDRIVE (p. 83)

Parameter Name
Drive
Level
Low Gain
High Gain
Amp Type

Drive
Output Level
Low Gain
High Gain
Amp Simulator Type
Pan
Output Pan
Value
0127
0127
-15 +15 [dB]
-15 +15 [dB]
SMALL, BUILT-IN,
2-STACK, 3-STACK
L6463R
03: DISTORTION (p. 83)

Parameter Name
Drive
Level
Low Gain
High Gain
Amp Type

Drive
Output Level
Low Gain
High Gain
Amp Simulator Type
Pan
Output Pan
Value
0127
0127
-15 +15 [dB]
-15 +15 [dB]
SMALL, BUILT-IN,
2-STACK, 3-STACK
L6463R
04: PHASER (p. 84)

Parameter Name
Manual
Rate
Depth
Resonance
Mix
Pan
Level

Manual
Rate
Depth
Resonance
Mix Level
Output Pan
Output Level
Value
1008000 [Hz]
0.0510.00 [Hz]
0127
0127
0127
L6463R
0127
Parameter Name
Band 1
Band 2
Band 3
Band 4
Band 5
Band 6
Band 7
Band 8
Q
Pan
Level
Value
-15 +15 [dB]
-15 +15 [dB]
-15 +15 [dB]
-15 +15 [dB]
-15 +15 [dB]
-15 +15 [dB]
-15 +15 [dB]
-15 +15 [dB]
0.5, 1.0, 2.0, 4.0, 8.0
L6463R
0127
06: ENHANCER (p. 85)

Parameter Name
Sens
Mix
Low Gain
High Gain
Level

Sensitivity
Mix Level
Low Gain
High Gain
Output Level
Value
0127
0127
-15 +15 [dB]
-15 +15 [dB]
0127
07: AUTO WAH (p. 85)

Parameter Name
Filter Type
Sens
Manual
Peak
Rate
Depth
Polarity
Level

Filter Type
Sensitivity
Manual
Peak
Rate
Depth
Polarity
Output Level
Value
LPF, BPF
0127
0127
0127
0.0510.00 [Hz]
0127
UP, DOWN
0127
08: ROTARY (p. 86)

Parameter Name
Low Slow
Low Fast
Low Accel
Low Level
High Slow
High Fast
High Accel
High Level
Separation
Speed
Level

Low Frequency Slow Rate
Low Frequency Fast Rate
Low Frequency Acceleration
Low Frequency Level
High Frequency Slow Rate
High Frequency Fast Rate
High Frequency Acceleration
High Frequency Level
Separation
Speed
Output Level
Value
0.0510.00 [Hz]
0.0510.00 [Hz]
015
0127
0.0510.00 [Hz]
0.0510.00 [Hz]
015
0127
0127
SLOW, FAST
0127
09: COMPRESSOR (p. 87)

Parameter Name
Attack
Sustain
Post Gain
Low Gain
High Gain
Pan
Level
142

Band 1 Gain
Band 2 Gain
Band 3 Gain
Band 4 Gain
Band 5 Gain
Band 6 Gain
Band 7 Gain
Band 8 Gain
Q
Output Pan
Output Level

Attack Time
Sustain
Post Gain
Low Gain
High Gain
Output Pan
Output Level
Value
0127
0127
0, +6, +12, +18 [dB]
-15 +15 [dB]
-15 +15 [dB]
L6463R
0127
Parameter List
10: LIMITER (p. 87)

Threshold Level
Compression Ratio
Release Time
Post Gain
Low Gain
High Gain
Output Pan
Output Level
Value
0127
1.5:1, 2:1, 4:1, 100:1
0127
0, +6, +12, +18 [dB]
-15 +15 [dB]
-15 +15 [dB]
L6463R
0127
11: HEXA-CHORUS (p. 88)

Parameter Name
Pre Delay
Rate
Depth
Pre Delay Dev
Depth Dev
Pan Dev
Balance
Level

Pre Delay Time
Rate
Depth
Pre Delay Deviation
Depth Deviation
Pan Deviation
Effect Balance
Output Level
Value
0.0100 [ms]
0.0510.00 [Hz]
0127
020
-20 +20
020
D100:0WD0:100W
0127
12: TREMOLO CHORUS (p. 88)

Parameter Name
Pre Delay
Chorus Rate
Chorus Depth
Tremolo Phase
Tremolo Rate
Tremolo Sep
Balance
Level

Pre Delay Time
Chorus Rate
Chorus Depth
Tremolo Phase
Tremolo Rate
Tremolo Separation
Effect Balance
Output Level
Value
0.0100 [ms]
0.0510.00 [Hz]
0127
0180 [deg]
0.0510.00 [Hz]
0127
D100:0WD0:100W
0127
13: SPACE-D (p. 89)

Parameter Name
Pre Delay
Rate
Depth
Phase
Low Gain
High Gain
Balance
Level

Pre Delay Time
Rate
Depth
Phase
Low Gain
High Gain
Effect Balance
Output Level
Value
0.0100 [ms]
0.0510.00 [Hz]
0127
0180 [deg]
-15 +15 [dB]
-15 +15 [dB]
D100:0WD0:100W
0127
14: STEREO CHORUS (p. 89)

Parameter Name
Pre Delay
Rate
Depth
Phase
Filter Type
Cutoff Freq
Low Gain
High Gain
Balance
Level

Pre Delay Time
Rate
Depth
Phase
Filter Type
Cutoff Frequency
Low Gain
High Gain
Effect Balance
Output Level
Value
0.0100 [ms]
0.0510.00 [Hz]
0127
0180 [deg]
OFF, LPF, HPF
2008000 [Hz]
-15 +15 [dB]
-15 +15 [dB]
D100:0WD0:100W
0127
Parameter Name
Pre Delay
Rate
Depth
Feedback
Phase
Filter Type
Cutoff Freq
Low Gain
High Gain
Balance
Level

Pre Delay Time
Rate
Depth
Feedback Level
Phase
Filter Type
Cutoff Frequency
Low Gain
High Gain
Effect Balance
Output Level
Value
0.0100 [ms]
0.0510.00 [Hz]
0127
-98 +98 [%]
0180 [deg]
OFF, LPF, HPF
2008000 [Hz]
-15 +15 [dB]
-15 +15 [dB]
D100:0WD0:100W
0127
16: STEP FLANGER (p. 91)

Parameter Name
Pre Delay
Rate
Depth
Feedback
Phase
Step Rate

Pre Delay Time
Rate
Depth
Feedback Level
Phase
Step Rate
Low Gain
High Gain
Balance
Level
Low Gain
High Gain
Effect Balance
Output Level
Value
0.0100 [ms]
0.0510.00 [Hz]
0127
-98 +98 [%]
0180 [deg]
0.120.0 [Hz],
note-value symbols
-15 +15 [dB]
-15 +15 [dB]
D100:0WD0:100W
0127
17: STEREO DELAY (p. 92)

Parameter Name
Delay Left
Delay Right
Feedback
Feedback Mode
Phase Left
Phase Right
HF Damp

Delay Time Left
Delay Time Right
Feedback Level
Feedback Mode
Feedback Phase Left
Feedback Phase Right
HF Damp
Low Gain
High Gain
Balance
Level
Low Gain
High Gain
Effect Balance
Output Level
Value
0.0500 [ms]
0.0500 [ms]
-98 +98 [%]
NORMAL, CROSS
NORMAL, INVERT
NORMAL, INVERT
2008000 [Hz],
BYPASS
-15 +15 [dB]
-15 +15 [dB]
D100:0WD0:100W
0127
18: MODULATION DELAY (p. 93)

Parameter Name
Delay Left
Delay Right
Feedback
Feedback Mode
Rate
Depth
Phase
HF Damp

Delay Time Left
Delay Time Right
Feedback Level
Feedback Mode
Rate
Depth
Phase
HF Damp
Low Gain
High Gain
Balance
Level
Low Gain
High Gain
Effect Balance
Output Level
Value
0.0500 [ms]
0.0500 [ms]
-98 +98 [%]
NORMAL, CROSS
0.0510.00 [Hz]
0127
0180 [deg]
2008000 [Hz],
BYPASS
-15 +15 [dB]
-15 +15 [dB]
D100:0WD0:100W
0127
143
Parameter List
Parameter Name
Threshold
Ratio
Release
Post Gain
Low Gain
High Gain
Pan
Level
15: STEREO FLANGER (p. 90)
Parameter List
19: TRIPLE TAP DELAY (p. 94)
22: 2VOICE PITCH SHIFTER (p. 96)
Parameter Name
Delay Center

Delay Time Center
Delay Left
Delay Time Left
Delay Right
Delay Time Right
Feedback
Center Level
Left Level
Right Level
HF Damp
Feedback Level
Center Level
Left Level
Right Level
HF Damp
Low Gain
High Gain
Balance
Level
Low Gain
High Gain
Effect Balance
Output Level
Parameter Name
Coarse A
Fine A
Pan A
Pre Delay A
Coarse B
Fine B
Pan B
Pre Delay B
Mode
Lev Balance
Balance
Level
Value
2001000 [ms],
note-value symbols
2001000 [ms],
note-value symbols
2001000 [ms],
note-value symbols
-98 +98 [%]
0127
0127
0127
2008000 [Hz],
BYPASS
-15 +15 [dB]
-15 +15 [dB]
D100:0WD0:100W
0127
20: QUADRUPLE TAP DELAY (p. 95)

Parameter Name
Delay 1

Delay Time 1
Delay 2
Delay Time 2
Delay 3
Delay Time 3
Delay 4
Delay Time 4
Level 1
Level 2
Level 3
Level 4
Feedback
HF Damp
Level 1
Level 2
Level 3
Level 4
Feedback Level
HF Damp
Balance
Level
Effect Balance
Output Level
Value
2001000 [ms],
note-value symbols
2001000 [ms],
note-value symbols
2001000 [ms],
note-value symbols
2001000 [ms],
note-value symbols
0127
0127
0127
0127
-98 +98 [%]
2008000 [Hz],
BYPASS
D100:0WD0:100W
0127
21: TIME CONTROL DELAY (p. 96)

Parameter Name
Delay
Acceleration
Feedback
HF Damp

Delay Time
Acceleration
Feedback Level
HF Damp
Pan
Low Gain
High Gain
Balance
Level
Output Pan
Low Gain
High Gain
Effect Balance
Output Level
144
Value
2001000 [ms]
015
-98 +98 [%]
2008000 [Hz],
BYPASS
L6463R
-15 +15 [dB]
-15 +15 [dB]
D100:0WD0:100W
0127

Coarse Pitch A
Fine Pitch A
Output Pan A
Pre Delay Time A
Coarse Pitch B
Fine Pitch B
Output Pan B
Pre Delay Time B
Pitch Shifter Mode
Level Balance
Effect Balance
Output Level
Value
-24 +12 [semi]
-100 +100 [cent]
L6463R
0.0500 [ms]
-24 +12 [semi]
-100 +100 [cent]
L6463R
0.0500 [ms]
1, 2, 3, 4, 5
A100:0BA0:100B
D100:0WD0:100W
0127
23: FBK PITCH SHIFTER

(Feedback Pitch Shifter) (p. 97)
Parameter Name
Coarse
Fine
Feedback
Pre Delay
Mode
Pan
Low Gain
High Gain
Balance
Level

Coarse Pitch
Fine Pitch
Feedback Level
Pre Delay Time
Pitch Shifter Mode
Output Pan
Low Gain
High Gain
Effect Balance
Output Level
Value
-24 +12 [semi]
-100 +100 [cent]
-98 +98 [%]
0.0500 [ms]
1, 2, 3, 4, 5
L6463R
-15 +15 [dB]
-15 +15 [dB]
D100:0WD0:100W
0127
24: REVERB (p. 98)

Parameter Name
Type

Reverb Type
Pre Delay
Time
HF Damp
Pre Delay Time

Reverb Time
HF Damp
Low Gain
High Gain
Balance
Level
Low Gain
High Gain
Effect Balance
Output Level
Value
ROOM1, ROOM2,
STAGE1, STAGE2,
HALL1, HALL2
0.0100 [ms]
0127
2008000 [Hz],
BYPASS
-15 +15 [dB]
-15 +15 [dB]
D100:0WD0:100W
0127
25: GATED REVERB (p. 99)

Parameter Name
Type

Gated Reverb Type
Pre Delay
Gate Time
Low Gain
High Gain
Balance
Level
Pre Delay Time

Gate Time
Low Gain
High Gain
Effect Balance
Output Level
Value
NORMAL, REVERSE,
SWEEP1, SWEEP2
0.0100 [ms]
5500 [ms]
-15 +15 [dB]
-15 +15 [dB]
D100:0WD0:100W
0127
Parameter List
26: OVERDRIVECHORUS (p. 99)
31: DISTORTIONDELAY (p. 101)
Parameter Name
OD Drive
OD Pan
Chorus Delay
Chorus Rate
Chorus Depth
Chorus Bal
Level
The parameters are essentially the same as in 28: OVERDRIVE

DELAY, with the exception of the following two.
Value
0127
L6463R
0.0100 [ms]
0.0510.00 [Hz]
0127
D100:0WD0:100W
0127
27: OVERDRIVEFLANGER (p. 100)

Parameter Name
Value
OD Drive
OD Pan
Flg Pre Delay
Flg Rate
Flg Depth
Flg Feedback
Flg Balance
Level
Drive
Overdrive Pan
Flanger Pre Delay Time
Flanger Rate
Flanger Depth
Flanger Feedback Level
Flanger Balance
Output Level
0127
L6463R
0.0100 [ms]
0.0510.00 [Hz]
0127
-98 +98 [%]
D100:0WD0:100W
0127
28: OVERDRIVEDELAY (p. 100)

Parameter Name
OD Drive
OD Pan
Delay Time
Delay Feedback
Delay HF Damp

Drive
Overdrive Pan
Delay Time
Delay Feedback Level
Delay HF Damp
Delay Bal
Level
Delay Balance
Output Level
Value
0127
L6463R
0.0500 [ms]
-98 +98 [%]
2008000 [Hz],
BYPASS
D100:0WD0:100W
0127
29: DISTORTIONCHORUS (p. 101)

OD Pan Dist Pan (Specify the stereo location of the distortion sound.)
32: ENHANCERCHORUS (p. 102)

Parameter Name
Enhancer Sens
Enhancer Mix
Chorus Delay
Chorus Rate
Chorus Depth
Chorus Bal
Level

Enhancer Sensitivity
Enhancer Mix Level
Chorus Pre Delay Time
Chorus Rate
Chorus Depth
Chorus Balance
Output Level
Value
0127
0127
0.0100 [ms]
0.0510.00 [Hz]
0127
D100:0WD0:100W
0127
33: ENHANCERFLANGER (p. 102)

Parameter Name
Enhancer Sens
Enhancer Mix
Flg Pre Delay
Flg Rate
Flg Depth
Flg Feedback
Flg Balance
Level

Enhancer Mix Level
Flanger Rate
Flanger Depth
Flanger Balance
Output Level
Value
0127
0127
0.0100 [ms]
0.0510.00 [Hz]
0127
-98 +98 [%]
D100:0WD0:100W
0127
34: ENHANCERDELAY (p. 103)
Parameter Name
Enhancer Sens
Enhancer Mix
Delay Time
Delay Feedback
Delay HF Damp

Enhancer Mix Level
Delay Time
Delay HF Damp
Delay Bal
Level
Delay Balance
Output Level
30: DISTORTIONFLANGER (p. 101)
35: CHORUSDELAY (p. 103)
The parameters are essentially the same as in 27: OVERDRIVE

FLANGER, with the exception of the following two.
Parameter Name
Chorus Delay
Chorus Rate
Chorus Depth
Chorus Bal
Delay Time
Delay Feedback
Delay HF Damp

Chorus Rate
Chorus Depth
Chorus Balance
Delay Time
Delay HF Damp
Delay Bal
Level
Delay Balance
Output Level
The parameters are essentially the same as 26: OVERDRIVE

CHORUS, with the exception of the following two.

Value
0127
0127
0.0500 [ms]
-98 +98 [%]
2008000 [Hz],
BYPASS
D100:0WD0:100W
0127
Value
0.0100 [ms]
0.0510.00 [Hz]
0127
D100:0WD0:100W
0.0500 [ms]
-98 +98 [%]
2008000 [Hz],
BYPASS
D100:0WD0:100W
0127
145
Parameter List

Drive
Overdrive Pan
Chorus Rate
Chorus Depth
Chorus Bal
Output Level
Parameter List
36: FLANGERDELAY (p. 104)
42: SLICER (p. 106)
Parameter Name
Flg Pre Delay
Flg Rate
Flg Depth
Flg Feedback
Flg Balance
Delay Time
Delay Feedback
Delay HF Damp

Flanger Rate
Flanger Depth
Flanger Balance
Delay Time
Delay HF Damp
Parameter Name
Timing Pttern
Accent Pttern
Accent Level
Attack
Rate

Timing Pattern
Accent Pattern
Accent Level
Attack
Rate
Reset
Level
Reset
Output Level
Delay Bal
Level
Delay Balance
Output Level
Value
0.0100 [ms]
0.0510.00 [Hz]
0127
-98 +98 [%]
D100:0WD0:100W
0.0500 [ms]
-98 +98 [%]
2008000 [Hz], BYPASS
D100:0WD0:100W
0127
37: CHORUSFLANGER (p. 104)

Parameter Name
Chorus Delay
Chorus Rate
Chorus Depth
Chorus Bal
Flg Pre Delay
Flg Rate
Flg Depth
Flg Feedback
Flg Balance
Level

Chorus Rate
Chorus Depth
Chorus Balance
Flanger Rate
Flanger Depth
Flanger Balance
Output Level
Value
0.0100 [ms]
0.0510.00 [Hz]
0127
D100:0WD0:100W
0.0100 [ms]
0.0510.00 [Hz]
0127
-98 +98 [%]
D100:0WD0:100W
0127
38: CHORUS/DELAY (p. 105)

The parameters are the same as for 35: CHORUS DELAY.
39: FLANGER/DELAY (p. 105)

The parameters are the same as for 36: FLANGER DELAY.
However, the Delay Balance parameter adjusts the volume balance between the direct sound and the delay sound.
40: CHORUS/FLANGER (p. 105)

The parameters are the same as for 37: CHORUS FLANGER.
However, the Flanger Balance parameter adjusts the volume balance between the direct sound and the flanger sound.
41: LOFI (p. 106)

Parameter Name
Bit Down
S-Rate Down
Post Gain
Low Gain
High Gain
Output
Level
146

Bit Down
Sample-Rate Down
Post Gain
Low Gain
High Gain
Output
Output Level
Value
07
32, 16, 8, 4 [kHz]
0, +6, +12, +18 [dB]
-15 +15 [dB]
-15 +15 [dB]
MONO, STEREO
0127
Value
134
116
0127
110
0.0510.00 [Hz],
note-value symbols
OFF, ON
0127
Performance List
Preset
No.
Name
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
BasicPerform
SlicingPower
Lo-Fi Tekno
Rock Organ
SoundTrk1912
ARP Bs/Saws
ARP DigiClav
RS Pop Kit 1
RS Strings
PowerBrass
Bass/Piano
ARP Bs/Tp
RS Finale
Rhm/JC Gtr
Big Blue
Arpgio Bell
MG Split
ARP SteelGtr
Chaotic
Alto Sax
RS Dist Gtr
Twin Rave
Air Heaven
Twilight
Jazz Scat
Pad/NylonGtr
Happy Saws
GR-300
Frog Pad
Angel Choir
7th Atmos
Brite Piano
Warm Piano
SA Rhodes
RS E.Piano
Dyno Phase
RS Crystal
Hyper Bell
Chime Bells
Air Crystal
Air Bell
EP Heaven
HyperBellPad
Bell Heaven
RS SawsKey
ARP Pipe
Marc.Strings
Orchestral
OvertoneScan
Square Pad
Pipe Pad
Haunting
RS Prologue
OB Strings
Soft JP Str
JP Strings
JUNO Strings
RS Soft Pad
MatrxStrings
Heaven Pad
Glass Orbit
Metal 5thPad
Mystic Pad
Comb Saws
Key Mode
No.
Name
SINGLE
DUAL
SPLIT
SPLIT
SPLIT
SPLIT
SINGLE
SINGLE
DUAL
DUAL
SPLIT
SPLIT
DUAL
SPLIT
SINGLE
DUAL
SPLIT
SINGLE
DUAL
SINGLE
SINGLE
DUAL
DUAL
DUAL
SINGLE
SPLIT
SPLIT
DUAL
DUAL
DUAL
SINGLE
SINGLE
DUAL
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
DUAL
DUAL
DUAL
SINGLE
DUAL
SINGLE
DUAL
DUAL
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
DUAL
DUAL
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
DUAL
SINGLE
SINGLE
DUAL
SINGLE
DUAL
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Combine
Morph Pad
5th Saws
4th Sweep
Saws Sweep
RS Soundtrk
StepMetalPad
Running Saws
Etherality
Step Flanger
Step Saws
Random Pad
RandomEnding
FlangeRandom
Slicer
Sliced Sync
Shock Wave
Techno Hit
Impact Hit
Noise Hit
Minor Rave
MinorIncidnt
Tekno Saw
Teknoheadz
TeknoSplit
Vox Lead
303 Reso
Uillean Pipe
Hichiriki
Quad Winds
Tb Section
TpTbSax Sect
Sax Section
Fr.Horns
Big Band
RS Brass
OB Brass
Warm Brass
RS SawBrass1
RS SawBrass2
RS Flute
Spectre
Pipe Lead
Shmoog
RS Bs&Lead
HardSyncLead
Full Organ
Jazz Organ
DigitalOrgan
Cheese Organ
Rocker Organ
Finger Bass
Fretnot Bass
SH101 Bs 1
SH101 Bs 2
Jungle Bass
JP-4 Bass
TB303 Bass
303SqDstBass
RS Pop Kit 2
TR-909 Kit
Brush Kit
RS Piano
Init Perform
Key Mode
No.
Name
SINGLE
SINGLE
SINGLE
SINGLE
DUAL
DUAL
DUAL
SINGLE
SINGLE
DUAL
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
DUAL
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SPLIT
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
DUAL
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
DUAL
SINGLE
SPLIT
SPLIT
SINGLE
SPLIT
SINGLE
SINGLE
SINGLE
DUAL
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
BasicPerform
SlicingPower
Lo-Fi Tekno
Rock Organ
SoundTrk1912
ARP Bs/Saws
ARP DigiClav
RS Pop Kit 1
RS Strings
PowerBrass
Bass/Piano
ARP Bs/Tp
RS Finale
Rhm/JC Gtr
Big Blue
Arpgio Bell
MG Split
ARP SteelGtr
Chaotic
Alto Sax
RS Dist Gtr
Twin Rave
Air Heaven
Twilight
Jazz Scat
Pad/NylonGtr
Happy Saws
GR-300
Frog Pad
Angel Choir
7th Atmos
Brite Piano
Warm Piano
SA Rhodes
RS E.Piano
Dyno Phase
RS Crystal
Hyper Bell
Chime Bells
Air Crystal
Air Bell
EP Heaven
HyperBellPad
Bell Heaven
RS SawsKey
ARP Pipe
Marc.Strings
Orchestral
OvertoneScan
Square Pad
Pipe Pad
Haunting
RS Prologue
OB Strings
Soft JP Str
JP Strings
JUNO Strings
RS Soft Pad
MatrxStrings
Heaven Pad
Glass Orbit
Metal 5thPad
Mystic Pad
Comb Saws
Key Mode
No.
Name
SINGLE
DUAL
SPLIT
SPLIT
SPLIT
SPLIT
SINGLE
SINGLE
DUAL
DUAL
SPLIT
SPLIT
DUAL
SPLIT
SINGLE
DUAL
SPLIT
SINGLE
DUAL
SINGLE
SINGLE
DUAL
DUAL
DUAL
SINGLE
SPLIT
SPLIT
DUAL
DUAL
DUAL
SINGLE
SINGLE
DUAL
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
DUAL
DUAL
DUAL
SINGLE
DUAL
SINGLE
DUAL
DUAL
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
DUAL
DUAL
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
DUAL
SINGLE
SINGLE
DUAL
SINGLE
DUAL
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Combine
Morph Pad
5th Saws
4th Sweep
Saws Sweep
RS Soundtrk
StepMetalPad
Running Saws
Etherality
Step Flanger
Step Saws
Random Pad
RandomEnding
FlangeRandom
Slicer
Sliced Sync
Shock Wave
Techno Hit
Impact Hit
Noise Hit
Minor Rave
MinorIncidnt
Tekno Saw
Teknoheadz
TeknoSplit
Vox Lead
303 Reso
Uillean Pipe
Hichiriki
Quad Winds
Tb Section
TpTbSax Sect
Sax Section
Fr.Horns
Big Band
RS Brass
OB Brass
Warm Brass
RS SawBrass1
RS SawBrass2
RS Flute
Spectre
Pipe Lead
Shmoog
RS Bs&Lead
HardSyncLead
Full Organ
Jazz Organ
DigitalOrgan
Cheese Organ
Rocker Organ
Finger Bass
Fretnot Bass
SH101 Bs 1
SH101 Bs 2
Jungle Bass
JP-4 Bass
TB303 Bass
303SqDstBass
RS Pop Kit 2
TR-909 Kit
Brush Kit
RS Piano
Init Perform
Key Mode
SINGLE
SINGLE
SINGLE
SINGLE
DUAL
DUAL
DUAL
SINGLE
SINGLE
DUAL
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
DUAL
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SPLIT
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
DUAL
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
DUAL
SINGLE
SPLIT
SPLIT
SINGLE
SPLIT
SINGLE
SINGLE
SINGLE
DUAL
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
147
Performance List
User
Tone List
User
No. Name
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Preset
Voice
RS Piano
Bright Piano
Piano + Str
Dyno Rhodes
Tremolo Dyno
Phase Rhodes
SA E.Piano
StackE.Piano
60's E.Piano
Atk Clav.
DigitalClav.
El.Organ 1
El.Organ 4
El.Organ 6
Trem.Organ
Perc.Organ 2
Rock Organ 1
Cheese Organ
D-50 Organ
DigitalOrg.1
RequintoGtr.
SteelGtr.VSW
ResoGt/Slide
Dulcimer
Celtic Harp
JC ChorusGt.
Tele Rear
Fab 4 Guitar
Half Drv.
Dazed Guitar
Atk A.Bass
Heart Bass
Mr.Smooth
TB303 Bass 2
Tee Bee
TB303 Reso
JP-4 Bass
P5 Bass
Square Bass
Jungle Bass
Pedal Bass
SH101Bass 1
SH101Bass 2
West End Bs.
RS Choir
Mello Choir
Jazz Scat
RS SynVox
RS Strings
Marc.Strings
Oct Strings
RS SlowStr.1
OB Strings
Soft JP Str.
JP Strings
RS Flute
Bamboo Flute
Tin Whistle
Zampona
RS Alto Sax
Blown Tenor
Sax Section
Uillean Pipe
Orchestra 2
Category
4
4
4
3
4
4
2
4
1
2
2
4
4
2
2
4
1
1
2
2
1
2
2
2
2
2
2
4
2
2
3
1
2
1
4
1
1
1
2
1
2
2
1
3
2
2
3
1
4
4
4
2
3
3
4
1
2
2
2
1
1
4
2
4
Voice: number of voice

User 1128: MSB=64, LSB=0
148
PNO
PNO
PNO
EP
EP
EP
EP
EP
EP
KEY
KEY
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
AGT
AGT
AGT
ETH
PLK
EGT
EGT
EGT
DGT
DGT
BS
BS
BS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
VOX
VOX
VOX
SLD
STR
STR
STR
STR
STR
STR
STR
FLT
FLT
FLT
FLT
SAX
SAX
SAX
ETH
ORC
No. Name
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Voice
Orchestra 3
Romantic Tp.
Tp. Mar/Shk
Cup Mute Tp.
Twin Tps.
Tuba + Horn
RS Fr.Horns
Lo Brass
Big Band
Power Brass
Orch Brass
LA Brass
Stack Brass
Jump Brass 2
OB Brass
LoFi Brass
Warm Brass
SoaringHorns
Sugar Keys
RS SawsKeys
Super Saws
Double Saws
RS Prologue
RS Crystal
Hyper Bell
Warm Bell
EP Heaven
RS Heaven
Heaven Pad
RS Soft Pad1
Morph Pad
Comb Strings
4th Sweep
Mystic Pad
OvertoneScan
Warm Sqr Pad
JP8 Hollow
7th Atmos.
Dual Sqr&Saw
Step Saws
RandomEnding
Big Blue
RND Fl.Chord
RS SquareLd1
2600 Sine
Shmoog
CC Solo
FM Lead 1
PureFlatLead
MG Saw Ld. 1
MG Saw Ld. 2
GR300 Lead 1
MG 2 OSCs
Sync Lead
Dirty Sync
Happy Saws
TwinOct.Rave
MinorIncidnt
Minor Rave
Vox Lead
Technoheadz
Impact Hit
Techno Hit
P5 Noise
4
1
2
1
2
2
2
2
2
4
4
4
4
2
4
2
4
4
2
4
2
2
3
4
1
1
4
2
1
3
4
4
4
4
4
4
4
2
4
4
2
2
4
2
1
2
2
1
2
1
1
1
2
1
2
4
4
4
4
2
4
2
1
1
Category
ORC
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
SBR
SBR
SBR
SBR
SBR
SBR
SBR
SYN
SYN
SYN
BPD
SPD
BEL
BEL
BEL
SYN
SPD
SPD
SPD
SPD
STR
SPD
BPD
SPD
SPD
SPD
FX
PLS
PLS
PLS
PLS
PLS
SLD
SLD
SLD
SLD
SLD
SLD
SLD
SLD
SLD
SLD
HLD
HLD
TEK
TEK
TEK
TEK
TEK
TEK
HIT
HIT
FX
No. Name
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Voice
RS Piano
Bright Piano
Dance Piano
Piano + Str
Piano+Choir
Dyno Rhodes
Tremolo Dyno
Phase Rhodes
RS Rhodes
SA E.Piano
StackE.Piano
Hard FM EP
Detuned EP
60's E.Piano
Atk Clav.
AnalogClav.1
AnalogClav.2
DigitalClav.
El.Organ 1
El.Organ 2
El.Organ 3
El.Organ 4
El.Organ 5
El.Organ 6
Trem.Organ
Perc.Organ 2
Perc.Organ 3
Perc.Organ 4
Perc.Organ 5
Rock Organ 1
Rock Organ 2
Cheese Organ
D-50 Organ
DigitalOrg.1
DigitalOrg.2
RequintoGtr.
RS SteelGtr.
SteelGtr.VSW
Nylon+Steel
ResoGt/Slide
Dulcimer
Celtic Harp
Harp&Strings
Andreas Cave
JC ChorusGt.
Tele Rear
Strat Rear
Fab 4 Guitar
5th Overdrv.
Half Drv.
5th Dist.
Dazed Guitar
Atk A.Bass
Heart Bass
Rock Bass
Double Pick
Mr.Smooth
TB303 Bass 1
TB303 Bass 2
Tee Bee
303 Sqr.Rev
303 SqDistBs
TB303 Reso
JP-4 Bass
4
4
2
4
4
3
4
4
4
2
4
4
4
1
2
1
1
2
4
4
4
4
4
2
2
4
4
4
4
1
3
1
2
2
2
1
2
2
2
2
2
2
3
4
2
2
2
4
2
2
2
2
3
1
2
4
2
1
1
4
1
2
1
1
Category
PNO
PNO
PNO
PNO
PNO
EP
EP
EP
EP
EP
EP
EP
EP
EP
KEY
KEY
KEY
KEY
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
AGT
AGT
AGT
AGT
AGT
ETH
PLK
PLK
PLK
EGT
EGT
EGT
EGT
DGT
DGT
DGT
DGT
BS
BS
BS
BS
BS
SBS
SBS
SBS
SBS
SBS
SBS
SBS

Preset 1128: MSB=65, LSB=0
No. Name
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Voice
P5 Bass
RS SawBs.1
JP Bass
Square Bass
RS Sine Bass
Jungle Bass
Ring Bass
Hit&Saw Bass
Pedal Bass
RS SawBs.2
SH101Bass 1
SH101Bass 2
RS LightBs.1
Seq Bass
RS LightBs.2
West End Bs.
Bubble Bass
RS Choir
Rich Choir
Mello Choir
Jazz Scat
JX8P Vox
RS SynVox
RS Strings
Rich Strings
Marc.Strings
Oct Strings
Hybrid Str.
Warm Strings
RS SlowStr.1
RS SlowStr.2
ContraBsSect
OB Strings
Soft JP Str.
JP Strings
Matrix Str.
JUNO Strings
Digital Str.
RS Flute
Bamboo Flute
Nay
Tin Whistle
Zampona
Pure Lead
Pipe Lead
BottleBlow 2
RS Alto Sax
Blown Tenor
Sax Section
Fat + Reed
Quad Wind
Uillean Pipe
Hichiriki
Orchestra 2
Orchestra 3
Orchestra 4
Henry IV
Mariachi Tp.
Romantic Tp.
Tp. Shake
Tp. Mar/Shk
Atk Trumpet
Cup Mute Tp.
Twin Tps.
1
2
2
2
2
1
2
2
2
2
2
1
2
2
2
3
2
2
4
2
3
2
1
4
4
4
4
4
3
2
3
4
3
3
4
4
2
4
1
2
2
2
2
4
3
3
1
1
4
4
4
2
2
4
4
4
4
1
1
1
2
2
1
2
Category
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
VOX
VOX
VOX
VOX
SPD
SLD
STR
STR
STR
STR
STR
STR
STR
STR
STR
STR
STR
STR
STR
STR
STR
FLT
FLT
FLT
FLT
FLT
FLT
FLT
FLT
SAX
SAX
SAX
SAX
WND
ETH
ETH
ORC
ORC
ORC
ORC
BRS
BRS
BRS
BRS
BRS
BRS
BRS
Tone List
No. Name
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
Voice
4th Trumpets
Twin Bones
2Tps + Tb
2Tps+Tb+Sax
Bones & Tuba
Tuba + Horn
RS Fr.Horns
VoyagerBrass
Lo Brass
RS TbSection
Big Band
Power Brass
BrassSection
Quad Brass
Brass + Sax
Orch Brass
LA Brass
P5 Brass
Poly Brass
Fat SynBrass
MKS Brass
Stack Brass
Jump Brass 2
OB Brass
JUNO Brass
LoFi Brass
Reso Brass
Warm Brass
SoaringHorns
DeepSynBrass
Sugar Keys
RS Pipe Keys
RS SawsKeys
WireKeys
Super Saws
Double Saws
Poly Saws
Polysynth 2
Super Poly
RS Prologue
RS Crystal
Hyper Bell
Warm Bell
Chime Bells
D-50 Retour
Bell Heaven
EP Heaven
RS Heaven
Heaven Key
Heaven Pad
RS Soft Pad1
RS Soft Pad2
Saw Strings
Spectre
Morph Pad
Comb Strings
Combine
Soft Sweep
Saws Sweep
CelestialPad
4th Sweep
5th Saws
Big Fives
7th Bell Pad
2
2
1
3
4
2
2
3
2
2
2
4
4
4
4
4
4
4
4
4
2
4
2
4
2
2
2
4
4
2
2
3
4
2
2
2
4
2
4
3
4
1
1
4
4
2
4
2
2
1
3
4
3
4
4
4
2
4
3
3
4
4
4
2
Category
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
SBR
SBR
SBR
SBR
SBR
SBR
SBR
SBR
SBR
SBR
SBR
SBR
SBR
SBR
SYN
SYN
SYN
SYN
SYN
BPD
SYN
BPD
SPD
SPD
BEL
BEL
BEL
BEL
BPD
SYN
SYN
SPD
SYN
SPD
SPD
SPD
SPD
BPD
SPD
STR
BPD
SPD
SPD
BPD
SPD
BPD
BPD
BPD
No. Name
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
Voice
Mystic Pad
OvertoneScan
Pipe Pad
Warm Sqr Pad
JP8 Haunting
JP8 Hollow
Glass Orbit
7th Atmos.
Dual Sqr&Saw
Halo Step
Step Saws
Step Metal
Random Pad
RandomEnding
Big Blue
LFO Pad
RND Fl.Chord
Etherality
RS SquareLd1
Sine Lead
2600 Sine
RS SquareLd2
Shmoog
CC Solo
FM Lead 1
FM Lead 2
JP8 PulseLd1
JP8 PulseLd2
Soft SawLead
PureFlatLead
MG Square 2
Unison SqrLd
Dist Square
RS Digi Lead
260 RingLead
MG Saw Ld. 1
MG Saw Ld. 2
GR300 Lead 1
GR300 Lead 2
MG 2 OSCs
FatSolo Lead
ForcefulLead
CrowdingLead
Sync Lead
DualSyncLead
Dirty Sync
Sync Hard
Talking Box
Happy Saws
TwinOct.Rave
MinorIncidnt
Minor Rave
Vox Lead
Waspy Synth
Technoheadz
Techno Saw
Cheese Saw
Acid Guitar
BOG
Impact Hit
Double Hit
Techno Hit
Shock Wave
P5 Noise
4
4
3
4
4
4
3
2
4
4
4
4
2
2
2
2
4
4
2
1
1
1
2
2
1
2
1
2
2
2
1
4
1
1
2
1
1
1
1
2
4
4
4
1
4
2
4
3
4
4
4
4
2
2
4
2
1
2
3
2
2
1
2
1
Category
BPD
SPD
SPD
SPD
SPD
SPD
BPD
FX
PLS
PLS
PLS
BPD
PLS
PLS
PLS
PLS
PLS
PLS
SLD
SLD
SLD
SLD
SLD
SLD
SLD
SLD
SLD
SLD
SLD
SLD
HLD
SLD
HLD
SLD
HLD
SLD
SLD
SLD
SLD
SLD
SLD
HLD
HLD
HLD
HLD
HLD
HLD
HLD
TEK
TEK
TEK
TEK
TEK
TEK
TEK
PLS
PLS
TEK
TEK
HIT
HIT
HIT
HIT
FX
No. Name
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
Voice
Piano 1
Piano 1w
Piano 1d
Piano 2
Piano 2w
Piano 3
Piano 3w
Honky-tonk
HonkyTonk w
E.Piano 1
St.Soft EP
FM+SA EP
Wurly
E.Piano 2
Detuned EP 2
EP Legend
St.FM EP
EP Phase
Harpsichord
Coupled Hps.
Harpsi.w
Harpsi.o
Clav.
Pulse Clav
Celesta
Glockenspiel
Music Box
Vibraphone
Vibraphone w
Marimba
Marimba w
Xylophone
Tubular-bell
Church Bell
Carillon
Santur
Organ 1
Trem. Organ
60's Organ1
Organ 4
Organ 2
Chorus Or.2
Perc. Organ
Organ 3
Church Org.1
Church Org.2
Church Org.3
Reed Organ
Puff Organ
Accordion Fr
Accordion It
Harmonica
Bandoneon
Nylon-str.Gt
Ukulele
Nylon Gt.o
Nylon Gt.2
Steelstr.Gt
12-str.Gt
Mandolin
Steel + Body
Jazz Gt.
Pedal Steel
Clean Gt.
Category
LSB
PC
PNO
PNO
PNO
PNO
PNO
PNO
PNO
PNO
PNO
EP
EP
EP
EP
EP
EP
EP
EP
EP
KEY
KEY
KEY
KEY
KEY
KEY
KEY
BEL
BEL
MLT
MLT
MLT
MLT
MLT
BEL
BEL
BEL
PLK
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ACD
ACD
HRM
ACD
AGT
AGT
AGT
AGT
AGT
AGT
AGT
AGT
EGT
EGT
EGT
0
1
2
0
1
0
1
0
1
0
1
2
3
0
1
2
3
4
0
1
2
3
0
1
0
0
0
0
1
0
1
0
0
1
2
0
0
1
2
3
0
1
2
0
0
1
2
0
1
0
1
0
0
0
1
2
3
0
1
2
3
0
1
0
1
1
1
2
2
3
3
4
4
5
5
5
5
6
6
6
6
6
7
7
7
7
8
8
9
10
11
12
12
13
13
14
15
15
15
16
17
17
17
17
18
18
18
19
20
20
20
21
21
22
22
23
24
25
25
25
25
26
26
26
26
27
27
28
4
4
4
4
4
1
1
2
2
2
2
2
2
2
2
2
2
2
1
2
1
2
1
2
1
1
1
1
1
1
1
1
1
1
1
1
2
2
1
2
2
2
2
2
1
2
2
1
2
1
1
1
2
1
1
2
1
1
2
2
2
1
1
1
Preset 257320: MSB=121

PC:
Program Number
149
Tone List
Preset
Tone List
Preset
No. Name
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
Voice
Chorus Gt.
Mid Tone GTR
Muted Gt.
Funk Pop
Funk Gt.2
Jazz Man
Overdrive Gt
Guitar Pinch
DistortionGt
Feedback Gt
Dist Rtm GTR
Gt.Harmonics
Gt.Feedback
Acoustic Bs.
Fingered Bs.
Finger Slap
Picked Bass
Fretless Bs.
Slap Bass 1
Slap Bass 2
Synth Bass 1
SynthBass101
Acid Bass
Clavi Bass
Hammer
Synth Bass 2
Beef FM Bass
Rubber Bass
Attack Pulse
Violin
Slow Violin
Viola
Cello
Contrabass
Tremolo Str
PizzicatoStr
Harp
Yang Qin
Timpani
Strings
Orchestra
60s Strings
Slow Strings
Syn.Strings1
Syn.Strings3
Syn.Strings2
Choir Aahs
Chorus Aahs2
Voice Oohs
Humming
SynVox
Analog Voice
OrchestraHit
Bass Hit
6th Hit
Euro Hit
Trumpet
Dark Trumpet
Trombone
Trombone 2
Bright Tb
Tuba
MutedTrumpet
MuteTrumpet2
2
1
1
1
2
2
1
2
1
2
1
1
1
2
1
2
1
1
1
1
1
1
1
2
2
2
2
2
1
1
1
1
1
1
1
1
1
2
1
1
3
2
1
1
2
2
1
1
1
2
1
1
2
2
2
2
1
1
1
2
1
1
1
1
150
Category
LSB
PC
No. Name
EGT
EGT
EGT
EGT
EGT
EGT
DGT
DGT
DGT
DGT
DGT
EGT
EGT
BS
BS
BS
BS
BS
BS
BS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
STR
STR
STR
STR
STR
STR
STR
PLK
PLK
PRC
STR
ORC
STR
STR
STR
STR
SPD
VOX
VOX
VOX
VOX
VOX
VOX
HIT
HIT
HIT
HIT
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
1
2
0
1
2
3
0
1
0
1
2
0
1
0
0
1
0
0
0
0
0
1
2
3
4
0
1
2
3
0
1
0
0
0
0
0
0
1
0
0
1
2
0
0
1
0
0
1
0
1
0
1
0
1
2
3
0
1
0
1
2
0
0
1
28
28
29
29
29
29
30
30
31
31
31
32
32
33
34
34
35
36
37
38
39
39
39
39
39
40
40
40
40
41
41
42
43
44
45
46
47
47
48
49
49
49
50
51
51
52
53
53
54
54
55
55
56
56
56
56
57
57
58
58
58
59
60
60
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
Voice
Category
LSB
PC
No. Name
BRS
BRS
BRS
BRS
SBR
SBR
SBR
SBR
SBR
SBR
SBR
SAX
SAX
SAX
SAX
WND
WND
WND
WND
FLT
FLT
FLT
FLT
FLT
ETH
FLT
FLT
HLD
HLD
HLD
HLD
HLD
HLD
HLD
HLD
SLD
SLD
HLD
HLD
SLD
HLD
HLD
HLD
SYN
SPD
SPD
SYN
VOX
VOX
SPD
BPD
BPD
SPD
SYN
SPD
BEL
BEL
AGT
SYN
PLS
BPD
BPD
BPD
BPD
0
1
0
1
0
1
2
3
0
1
2
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
2
0
1
2
3
4
0
0
0
1
0
0
0
1
0
0
1
0
0
1
0
0
0
0
0
0
0
1
0
0
0
0
1
2
0
61
61
62
62
63
63
63
63
64
64
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
81
81
82
82
82
82
82
83
84
85
85
86
87
88
88
89
90
90
91
92
92
93
94
95
96
97
98
99
99
100
101
102
103
103
103
104
449
450
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
496
497
498
499
500
501
502
503
504
505
506
507
508
509
510
511
512
French Horns 1
Fr.Horn 2
2
Brass 1
2
Brass 2
2
Synth Brass1 2
Pro Brass
2
Oct SynBrass 2
Jump Brass
1
Syn.Brass 2
2
SynBrass sfz 1
Velo Brass 1
2
Soprano Sax 1
Alto Sax
1
Tenor Sax
2
Baritone Sax 1
Oboe
1
English Horn 1
Bassoon
1
Clarinet
1
Piccolo
1
Flute
1
Recorder
1
Pan Flute
1
Bottle Blow
2
Shakuhachi
2
Whistle
1
Ocarina
1
Square Wave 2
MG Square
1
Sine Wave
1
Saw Wave
2
OB2 Saw
1
Doctor Solo
2
Natural Lead 2
SequencedSaw 2
Syn.Calliope
2
Chiffer Lead
2
Charang
2
Wire Lead
2
Solo Vox
2
5th Saw Wave 2
Bass & Lead
2
Delayed Lead 2
Fantasia
2
Warm Pad
1
Sine Pad
2
Polysynth
2
Space Voice
1
Itopia
2
Bowed Glass 2
Metal Pad
2
Halo Pad
2
Sweep Pad
1
Ice Rain
2
Soundtrack
2
Crystal
2
Syn Mallet
1
Atmosphere
2
Brightness
2
Goblin
2
Echo Drops
1
Echo Bell
2
Echo Pan
2
Star Theme
2
Preset 321512: MSB=121

PC:
Program Number
Voice
Sitar
Sitar 2
Banjo
Shamisen
Koto
Taisho Koto
Kalimba
Bagpipe
Fiddle
Shanai
Tinkle Bell
Agogo
Steel Drums
Woodblock
Castanets
Taiko
Concert BD
Melo. Tom 1
Melo. Tom 2
Synth Drum
808 Tom
Elec Perc
Reverse Cym
Gt.FretNoise
Gt.Cut Noise
String Slap
Breath Noise
Fl.Key Click
Seashore
Rain
Thunder
Wind
Stream
Bubble
Bird
Dog
HorseGallop
Bird 2
Telephone 1
Telephone 2
DoorCreaking
Door
Scratch
Wind Chimes
Helicopter
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
Train
Jetplane
Starship
Burst Noise
Applause
Laughing
Screaming
Punch
Heart Beat
Footsteps
Gun Shot
Machine Gun
Lasergun
Explosion
1
2
1
1
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
1
1
1
1
1
1
1
1
1
1
1
2
2
2
1
1
1
1
1
1
1
1
2
1
1
1
1
2
1
1
2
2
2
2
1
1
1
1
1
1
1
1
2
Category
LSB
PC
PLK
PLK
FRT
PLK
PLK
PLK
PLK
ETH
STR
ETH
BEL
PRC
MLT
PRC
PRC
PRC
PRC
PRC
PRC
PRC
PRC
PRC
PRC
AGT
AGT
AGT
FX
FX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
0
1
0
0
0
1
0
0
0
0
0
0
0
0
1
0
1
0
1
0
1
2
0
0
1
2
0
1
0
1
2
3
4
5
0
1
2
3
0
1
2
3
4
5
0
1
2
3
4
5
6
7
8
9
0
1
2
3
4
5
0
1
2
3
105
105
106
107
108
108
109
110
111
112
113
114
115
116
116
117
117
118
118
119
119
119
120
121
121
121
122
122
123
123
123
123
123
123
124
124
124
124
125
125
125
125
125
125
126
126
126
126
126
126
126
126
126
126
127
127
127
127
127
127
128
128
128
128
Drum Set List

Preset
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
001
(PC: 1)
RS Pop Kit 1
Snare Roll
FingerSnaps2
High-Q
Slap
ScratchPush [EXC7]
ScratchPull
[EXC7]
Sticks
SquareClick
MetronmClick
Metronm Bell
Pop Kick 1
*3
Pop Kick 2
*3
Cross Stick
*2
Pop Snare 1
*2
Ghost Note
*2
Pop Snare 2
*2
PopLoTomFlam *2
PopClHiHat 1 [EXC1] *2
PopLowTom
*2
PopPdHiHat 1 [EXC1] *3
PopMdTomFlam *2
PopOpHiHat 1[EXC1] *3
PopMidTom
*2
PopHiTomFlam *2
PopCymbal 2
*2
PopHighTom
*2
Pop Ride 1
*2
PopCymbal 1
*2
Pop Ride 2
*2
Tambourine
PopSplashCym
ChaChaBell
*2
RockCrashCym *2
Vibraslap
RockRideCym
*2
Pop Hi Bongo
*2
Pop Lo Bongo
PopCongaSlap
*2
PopCongaOpen
Pop Lo Conga
PopHiTimbale
*2
PopLoTimbale
Pop Agogo
Pop Agogo
Pop Shaker2
Pop Shaker1
*2
ShortWhistle [EXC2]
Long Whistle [EXC2]
Pop Quide1
[EXC3]
Pop Quide2
[EXC3]
Pop Claves
*2
Woodblock
Woodblock
Mute Cuica
[EXC4]
Open Cuica
[EXC4]
MuteTriangle [EXC5]
OpenTriangle [EXC5]
Pop Shaker3
Jingle Bell
Bell Tree
Castanets
Mute Surdo
[EXC6]
Open Surdo
[EXC6]
Applause 2
*2
002
(PC: 2)
RS Pop Kit 2
%
Pop Kick 3
*3
Pop Kick 4
*3
%
Pop Snare 3
*2
%
Pop Snare 4
*2
%
PopClHiHat 2 [EXC1] *2
%
PopPdHiHat 2 [EXC1] *3
%
PopOpHiHat 2[EXC1] *3
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
003
(PC: 3)
STANDARD 2
Snare Roll
Finger Snap
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
MetronmClick
Metronm Bell
Std.2 Kick1
Std.2 Kick2
Side Stick
Std.2 Snare1
808 Clap
Std.2 Snare2
Real Tom 6
Jazz CHH
Real Tom 6
Pedal HiHat
Real Tom 4
Jazz OHH
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
High Bongo
Low Bongo
HiConga Mute
HiCongaOpen
LoCongaOpen
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
Maracas
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangle
OpenTriangle
Shaker
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
Applause 2
004
(PC:4)
STANDARD 3
005
R&B
(PC: 5)
006
DANCE
(PC:6)
Scrtch Push2
Scrtch Pull2
[EXC7]
[EXC7]
[EXC7]
[EXC7]
Std.3 Kick1
Std.3 Kick2
*2
*2
Piccolo SD2
Std.3 Snare2
*2
[EXC1]
*2
[EXC1]
*2
[EXC1]
*2
*2
*2
Close HiHat3
[EXC1]
Pedal HiHat3
[EXC1]
Open HiHat3
[EXC1]
R&B Kick
%
%
%
%
R&B Snare
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
*2
[EXC2]
[EXC2]
[EXC3]
[EXC3]
909 Comp BD
Elec Kick 2
House SD
909 HandClap
Elec. Snare3
Synth Drum 2
*2
CR78 CHH
[EXC1]
Synth Drum 2
*2
808 CHH 1
[EXC1]
Synth Drum 2
*2
CR78 OHH
[EXC1]
Synth Drum 2
*2
Synth Drum 2
*2
808 Crash
Synth Drum 2
*2
606 RideCym.
ReverseCymbl
Shake Tambrn
Splash Cym.2
808 Cowbel
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
[EXC4]
[EXC4]
[EXC5]
[EXC5]
Hoo
Hoo
626 Shaker
Bell Tree
[EXC4]
[EXC4]
Drum Set List
Note No.
[EXC6]
[EXC6]
*2
* User:001 and User:002 contain the same data as Preset:001 and

Preset:004, respectively. (User 001, 002: MSB=64, LSB=0)
* See p. 154 for information concerning Note Nos. 024 and 89127.
*2:
Tones which are created using two voices.
*3:
Tones which are created using three voices.
[EXC]: Percussion sound of the same number will not be heard at
the same time.
%:
Same as the percussion sound of 001: RS Pop Kit 1.
Blank: Same as the percussion sound of 003: STANDARD 2.
PC:
Program Number
151
Drum Set List

Preset
Note No.
007
HOUSE
(PC: 7)
008
HIP HOP
(PC: 8)
009
TECHNO
(PC: 9)
010
TR-909
(PC: 10)
21
25
26
FingerSnaps2
FingerSnaps2
FingerSnaps2
22
FingerSnaps2
23
27
28
29
30
Scrtch Push2
Scrtch Pull2
[EXC7]
[EXC7]
Scrtch Push2
Scrtch Pull2
[EXC7]
[EXC7]
Scrtch Push2
Scrtch Pull2
[EXC7]
[EXC7]
Scrtch Push2
Scrtch Pull2
[EXC7]
[EXC7]
33
29
34
35
HipHop BD2
909 BD2
C2 36
*2
37
38
39
40
42
43
44
45
46
47
C3 48
49
50
51
52
House SD
909 HandClap
Elec. Snare2
909 Tom
707 CHH 1
[EXC1]
909 Tom
CR78 CHH
[EXC1]
909 Tom
909 OHH
[EXC1]
909 Tom
909 Tom
909 Crash
909 Tom
909 RideCym.
*2
ReverseCymbl
909 Comp BD
HipHop BD1
808 Rimshot
Whack SD 2
909 HandClap
HipHop SD2
909 Tom
Room CHH
[EXC1]
909 Tom
Pedal HiHat
[EXC1]
909 Tom
R8 OHH 2
[EXC1]
909 Tom
909 Tom
909 Crash
909 Tom
Techno BD2
Techno BD1
808 Rimshot
Techno SD 1
707 Claps
MG Blip
808 Tom 2
707 CHH 1
808 Tom 2
CR78 CHH
808 Tom 2
909 OHH
808 Tom 2
808 Tom 2
909 Crash
808 Tom 2
ReverseCymbl
ReverseCymbl
Shake Tambrn
Splash Cym.2
808 Cowbel
Shake Tambrn
Splash Cym.2
808 Cowbel
909 Crash
*2
[EXC1]
*2
[EXC1]
*2
[EXC1]
*2
*2
*2
Techno BD2
909 BD2
*2
909 Rim
909 SD 1
909 HandClap
909 SD 2
909 Tom
707 CHH 1
[EXC1]
909 Tom
707 CHH 2
[EXC1]
909 Tom
909 OHH
[EXC1]
909 Tom
909 Tom
909 Crash
909 Tom
909 RideCym.
*2
56
57
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
Shake Tambrn
Splash Cym.2
808 Cowbel
909 Crash
Tambourine 2
Splash Cym.2
808 Cowbel
50
51
52
53
58
59
RideCym Edge
C4 60
61
62
63
64
CR78 HiBongo
CR78 LoBongo
808 Conga
808 Conga
808 Conga
54
55
56
CR78 HiBongo
CR78 LoBongo
808 Conga
808 Conga
808 Conga
57
58
59
C4 60
61
66
62
68
64
63
67
69
70
71
808 Maracas
808 Maracas
808 Maracas
65
808 Maracas
66
67
68
C5 72
69
73
74
75
CR78 Guiro
808 Clave
[EXC3]
CR78 Guiro
808 Clave
[EXC3]
CR78 Guiro
808 Clave
[EXC3]
CR78 Guiro
808 Clave
[EXC3]
Hoo
Hoo
[EXC4]
[EXC4]
Hoo
Hoo
[EXC4]
[EXC4]
Hoo
Hoo
[EXC4]
[EXC4]
Hoo
Hoo
[EXC4]
[EXC4]
76
77
30
31
49
54
55
65
25
26
28
32
53
C1 24
27
31
41
Note No.
70
71
C5 72
73
78
79
81
82
75
76
80
83
74
626 Shaker
626 Shaker
626 Shaker
626 Shaker
77
78
79
Bell Tree
C6 84
Bell Tree
Bell Tree
Bell Tree
80
85
81
87
83
82
86
88
C6 84
85
* See p. 154 for information concerning Note Nos. 024 and

89127, (except 011: RHYTHM FX).
*2:
[EXC]: Percussion sound of the same number will not be
heard at the same time.
Blank: Same as the percussion sound of
003: STANDARD 2.
PC:
Program Number
Preset 007011: MSB=65, LSB=0.
86
87
88
89
90
91
92
93
94
95
C7 96
97
98
99
100
152
011
RHYTHM FX
(PC:11)
RevBsAtkNoiz
RevClnGtMtUp
RevDstGCutUp
Click
Pop Drop
Wood Slap
Syn.Drops
Rev.Hi-Q
ShortWhistle
Ice Block
Digi Tambrn.
Alias
Tambourine
Noise Slap
Rev.Kick 1
Rev.Kick 1
Rev.ConBD
Rev.PowerBD1
Rev.Elec.BD1
RevBrBsDrum
Rev.909BD2
Rev.909BD2
Rev.HpHpBD1
Rev.HpHpBD1
Rev.HpHpBD1
Rev.Tech BD2
Rev.Snare 1
Rev.Snare 1
Rev.Snare 2
Rev.Std1SD1
Rev.808SD
Rev.909SD1
Rev.CR78SD1
Rev.Tech SD2
Rev.HpHpSD2
Rev.HpHpSD2
Rev.HpHpSD2
Rev House SD
Rev House SD
Rev.Snare 1
Rev.Hi-Q
Rev.Tom 1
Rev.Tom 1
Rev.Tom 1
Rev.Tom 1
Rev.Tom 2
Rev.Sticks
Rev.Slap
ReverseCymbl
Rev.Cymbal2
Rev.606Cym.
Rev.RideCym.
Rev.ClosedHH
Rev.707CH
Rev.808CHH
Rev.Open HH1
Rev.Open HH2
Rev.808OHH
Rev.CR-78OHH
Rev.CR-78OHH
Rev.HpHpSD2
Shaker
Rev.Slap
Rev.Tombrn 2
Rev.ShakeTmb
Rev.707Crash
Rev.Belltree
Rev.Guiro
Rev.GunShot
Rev.Scratch
Rev.Lasergun
VeloNoiseFX
St.NoiseClap
Swish
Tape Stop 1
Missile
Space Birds
FlyingMonstr
Voice 1
Hoo
*2
*2
*2
*2
*2
*2
Drum Set List
Preset
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
012
(PC: 1)
STANDARD 1
Snare Roll
FingerSnaps2
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
MetronmClick
Metronm Bell
Mix Kick
Std.1 Kick2
Side Stick
Std.1 Snare1
909 HandClap
LD Snare M
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.2
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
High Bongo
Low Bongo
HiConga Mute
HiCongaOpen
LoCongaOpen
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
Maracas
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangle
OpenTriangle
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
Applause 2
013
ROOM
(PC: 9)
014
POWER
(PC: 17)
Finger Snap
*2
016
TR-808
(PC: 26)
Finger Snap
[EXC7]
[EXC7]
*2
[EXC1]
*2
[EXC1]
*2
[EXC1]
*2
*2
015
(PC: 25)
ELECTRONIC
Scrtch Push2
Scrtch Pull2
(PC: 33)
Finger Snap
[EXC7]
[EXC7]
Room Kick 2
Room Kick 1
Power Kick2
Power Kick1
Elec Kick 2
Elec Kick 1
Room Snare 1
808 Clap
Room Snare 2
Room Tom 5
*2
Room CHH
[EXC1]
Room Tom 5
*2
Pedal HiHat
[EXC1]
Room Tom 2
*2
R8 OHH 2
[EXC1]
Room Tom 2
*2
Room Tom 2
*2
Dance Snare1
808 Clap
Power Snare1
Rock Tom 4
*2
Rock Tom 4
*2
Rock Tom 4
*2
Rock Tom 4
Rock Tom 1
*2
*2
Elec. Snare1
808 Clap
Elec. Snare2
Synth Drum 2
Jazz CHH
Synth Drum 2
Pedal HiHat
Synth Drum 2
Jazz OHH
Synth Drum 2
Synth Drum 2
*2
[EXC1]
*2
[EXC1]
*2
[EXC1]
*2
*2
Room Tom 2
Rock Tom 1
*2
Synth Drum 2
*2
*2
017
JAZZ
*2
Scrtch Push2
Scrtch Pull2
[EXC7]
[EXC7]
808 Kick 1
808 Kick 2
808 Rimshot
808 Snare 1
808 Clap
808 Snare 2
808 Tom 2
*2
808 CHH 2
[EXC1]
808 Tom 2
*2
808 CHH 1
[EXC1]
808 Tom 2
*2
808 OHH
[EXC1]
808 Tom 2
*2
808 Tom 2
*2
808 Crash
808 Tom 2
*2
606 RideCym.
Jazz Kick 2
Jazz Kick 1
Jazz Snare 1
Hand Clap2
Jazz Snare 2
Jazz CHH
[EXC1]
Pedal HiHat
[EXC1]
Jazz OHH
[EXC1]
RideCymMidIn
ReverseCymbl
CR78 Tmb
Splash Cym.
Splash Cym.
808 Cowbel
909 Crash
RideCym Edge
CR78 HiBongo
CR78 LoBongo
808 Conga
808 Conga
808 Conga
RideCym Edge
*2
808 Maracas
[EXC2]
[EXC2]
[EXC3]
[EXC3]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
CR78 Guiro
808 Clave
[EXC3]
Hoo
Hoo
[EXC4]
[EXC4]
Drum Set List
Note No.
626 Shaker
[EXC6]
[EXC6]
*2
* See p. 154 for information concerning Note Nos. 024 and 89127.
Applause
*2
*2:
[EXC]: Percussion sound of the same number will not be heard at
the same time.
Blank: Same as the percussion sound of 012: STANDARD 1.
PC:
Program Number
153
Drum Set List
Preset
Note No.
018
BRUSH
Note No. 024, 89127

(PC: 41)
019
(PC: 49)
ORCHESTRA
25
26
Finger Snap
Finger Snap
Jazz CHH
Pedal HiHat
Jazz OHH
Ride Cymbal
27
28
29
30
29
[EXC1]
[EXC1]
[EXC1]
C2 36
34
38
37
C2 36
Jazz Kick 2
Jazz Kick 1
Jazz Kick 1
Concert BD
Brush Tap
Brush Slap
Brush Swirl
Lite Tom 4
Brush CHH
Lite Tom 4
Pedal HiHat
Lite Tom 4
Brush OHH
Lite Tom 4
Lite Tom 4
Brush Crash
Lite Tom 4
Ride Cym In
ConcertSnare
Castanets
ConcertSnare
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
39
40
37
38
39
40
42
43
44
45
46
47
C3 48
49
50
51
*2
[EXC1]
*2
[EXC1]
*2
[EXC1]
*2
*2
*2
52
Brush RideBl
41
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
Splash Cym.
56
57
C4 60
ConcertCym.2
61
58
59
42
43
54
55
62
ConcertCym.1
RideCym Edge
63
64
C4 60
61
65
63
67
62
64
66
68
69
70
66
71
67
68
C5 72
70
74
69
73
71
75
76
C5 72
73
77
74
75
78
79
76
77
32
33
32
35
65
31
34
33
53
30
35
31
41
Note No.
80
81
82
78
83
79
80
C6 84
82
86
81
85
83
87
88
C6 84
85
89
86
87
88
90
91
Applause
*2
Applause
*2
92
93
* See the right column for information

concerning Note Nos. 024 and 89
127, (except 020: SFX).
154
*2:
Tones which are created

using two voices.
*3:
Tones which are created
using three voices.
[EXC]: Percussion sound of the
same number will not be
heard at the same time.
Blank: Same as the percussion sound
of 012: STANDARD 1.
PC:
Program Number
94
95
C7 96
97
98
99
100
101
102
020
SFX
(PC: 57)
MG Blip
Tape Stop 2
*2
Scrtch Push2 [EXC1]
Scrtch Pull2
[EXC1]
Finger Snap
FingerSnaps2
Gtr.Feedback
Dist.CutNoiz
Bass Slide
Pick Scrape
High-Q
Slap
ScratchPush [EXC7]
ScratchPull
[EXC7]
Sticks
SquareClick
MetronmClick
Metronm Bell
Gt.FretNoise
Gt.Cut Noise
Gt.Cut Noise
String Slap
Fl.Key Click
Laughing
Screaming
Punch
Heart Beat
Footsteps
Footsteps
Applause
*2
DoorCreaking
Door
Scratch
Wind Chimes
*2
Car-Engine
Car-Stop
Car-Pass
Car-Crash
*2
Siren
Train
Jetplane
*2
Helicopter
Starship
*2
Gun Shot
Machine Gun
Lasergun
Explosion
*2
Dog
HorseGallop
Bird
*2
Rain
Thunder
Wind
Seashore
Stream
*2
Bubble
*2
Kitty
Bird 2
Growl
Applause 2
*2
Encore
Telephone 1
Telephone 2
Burst Noise
*2
Ghost
*2
Submarine
*2
Big Shot
*2
Wind 2
Hoo
Emergency! [EXC2] *2
Abduction
[EXC2] *2
UFO FX
[EXC2] *2
7th Atmos.
[EXC2] *2
Angklung
Note No.
C-1 0
1
2
3
4
5
7
8
9
10
11
C0 12
13
14
15
16
17
18
19
20
21
22
23
C1 24
89
90
91
92
93
94
95
C7 96
97
98
99
100
101
102
103
104
105
106
107
C8 108
109
110
111
112
113
114
115
116
117
118
119
C9 120
121
122
123
124
125
126
127
Mix Kick
Std.1 Kick2
Std.3 Kick1
Std.3 Kick2
Room Kick 1
Room Kick 2
Power Kick1
Power Kick2
Jazz Kick 1
Concert BD
Elec Kick 1
Elec Kick 2
808 Kick 1
808 Kick 2
909 BD2
909 Comp BD
HipHop BD1
HipHop BD2
Techno BD1
Techno BD2
R&B Kick
Pop Kick 1
Pop Kick 2
Pop Kick 3
Pop Kick 4
Std.1 Snare1
LD Snare M
Std.2 Snare1
Std.2 Snare2
Piccolo SD2
Std.3 Snare2
Room Snare 1
Room Snare 2
Dance Snare1
Power Snare1
Jazz Snare 1
Jazz Snare 2
Brush Tap
Brush Slap
Brush Swirl
ConcertSnare
Elec. Snare1
Elec. Snare2
Elec. Snare3
808 Snare 1
808 Snare 2
909 Snare 1
909 SD 1
909 SD 2
CR78 SD 1
Whack SD 2
HipHop SD2
Techno SD 1
MG Blip
House SD
House SD
R&B Snare
Pop Snare 1
Pop Snare 2
Pop Snare 3
Pop Snare 4
Rev. Snare
Cross Stick
Ghost Note
*2
*2
*2
*2
*3
*3
*3
*3
*2
*2
*2
*2
*2
*2
*2
Style
Motif
Beat Pattern
1/4
all
1/ 4
1/6
all
1/ 6
1/8
all
1/ 8
1/12
all
1/12
1/16
all
1/16 13
1/32
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP,
DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, GLISSANDO,
BASS+UP 18, BASS+RANDOM 13, TOP+UP 16
1/32 13
PORTAMENTO A
all
PORTA-A 0111
PORTAMENTO B
all
PORTA-B 0115
GLISSANDO
GLISSANDO
1/16 13, 1/32 13
SEQUENCE A
all
SEQ-A 17
SEQUENCE B
all
SEQ-B 15
SEQUENCE C
DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, GLISSANDO,
BASS+UP 18, BASS+RANDOM 13, TOP+UP 16
SEQ-C 12
SEQUENCE D
all
SEQ-D 18
ECHO
DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER
ECHO 13
SYNTH BASS
BASS+UP 2
SEQ-A 1, SEQ-C 1
HEAVY SLAP
BASS+UP 5, TOP+UP 5
MUTE 02, 03
LIGHT SLAP
BASS+UP 5, TOP+UP 5
MUTE 02, 03
WALK BASS
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM,

NOTE ORDER, GLISSANDO
REFRAIN 1, WALKBS
RHYTHM GTR 1
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP, MUTE 01, 04
DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, BASS+UP 18,
BASS+RANDOM 13, TOP+UP 16
RHYTHM GTR 2
CHORD
MUTE 07, 13, 14
RHYTHM GTR 3
CHORD
MUTE 08, 12, 15
RHYTHM GTR 4
CHORD
MUTE 09, 10, 11, 16
RHYTHM GTR 5
SINGLE UP, SINGLE DOWN
STRUM 16
3 FINGER GTR
BASS+UP+TOP
SEQ-A 7
STRUM GTR UP
SINGLE UP
STRUM 78
STRUM GTR DOWN
SINGLE DOWN
STRUM 78
STRUM GTR U&D
SINGLE UP&DOWN
STRUM 78
PIANO BACKING
CHORD
MUTE 12, REFRAIN 2
CLAVI CHORD
BASS+CHORD 4, BASS+CHORD 5
MUTE 05, 06
WALTZ
BASS+CHORD 2, BASS+UP 2, BASS+RANDOM 2, TOP+UP 2
1/ 6, 1/12
SWING WALTZ
BASS+CHORD 2, BASS+UP 2, BASS+RANDOM 2, TOP+UP 2
1/16 13
REGGAE
CHORD, BASS+CHORD 1
REGGAE 12
PERCUSSION
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP, PERC 14
DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, BASS+UP 18,
BASS+RANDOM 13, TOP+UP 16
HARP
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, GLISSANDO
HARP
SHAMISEN
TOP+UP 46
SEQ-A 2
BOUND BALL
DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, GLISSANDO
BOUND
RANDOM
SINGLE RANDOM, DUAL RANDOM, BASS+RANDOM 13
1/ 4, 1/6, 1/8, 1/12, 1/16 13,

1/32 13, RANDOM
BOSSA NOVA
all
BOSSA NOVA
SALSA
all
SALSA 14
MAMBO
all
MAMBO 12
LATIN PERC
DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, GLISSANDO
CLAVE, REV CLA, GUIRO,

AGOGO
SAMBA
all
SAMBA
TANGO
all
TANGO 14
HOUSE
all
HOUSE 12
LIMITLESS
all
all
Arpeggio Style List
Arpeggio Style List
* all: there is no restriction on the value which can be set
155
MIDI Implementation
Model:
Date:
Version:
RS-5/9 (64-voice synthesizer (conforms to General MIDI 2 System))

Oct. 13, 2000
1.00
1. Receive data
Channel Voice Messages
*
Not received when the Part parameter Rx Channel is set to OFF.
Note off
Status
2nd byte
3rd byte
8nH
kkH
vvH
9nH
kkH
00H
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
kk = note number:
00H - 7CH (0 - 124)
vv = note off velocity:
00H - 7FH (0 - 127)
*
The velocity values of Note Off messages are ignored.
Data Entry (Controller number 6, 38)

Status
2nd byte
3rd byte
BnH
06H
mmH
BnH
26H
llH
0H - FH (ch.1 - ch.16)
mm, ll = the value of the parameter specified by RPN/NRPN
mm = MSB, ll = LSB
Volume (Controller number 7)

Status
2nd byte
3rd byte
BnH
07H
vvH
0H - FH (ch.1 - ch.16)
vv = Volume:
00H - 7FH (0 - 127)
*
*
Volume messages are used to adjust the volume balance of each Part.
Level, a Part parameter, is modified.
Pan (Controller number 10)

Status
2nd byte
3rd byte
BnH
0AH
vvH
0H - FH (ch.1 - ch.16)
vv = pan:
00H - 40H - 7FH (Left - Center - Right)
Note on
Status
2nd byte
3rd byte
9nH
kkH
vvH
0H - FH (ch.1 - ch.16)
kk = note number:
00H - 7CH (0 - 124)
vv = note on velocity:
01H - 7FH (1 - 127)
Control Change
Bank Select (Controller number 0, 32)
Status
2nd byte
3rd byte
BnH
00H
mmH
BnH
20H
llH
0H - FH (ch.1 - ch.16)
mm, ll = Bank number:
00H 00H - 7FH 7FH (bank.1 - bank.16384)
*
*
*
Bank Select is not received when GM1 System On is received. If GM System Off is
received, then reception of Bank Select is enabled.
Bank Select processing will be suspended until a Program Change message is received.
The Tones and Drum Sets corresponding to each Bank Select are as follows.
Tone
++
| BANK SELECT
BANK SELECT
PROGRAM
TONE
TONE
|
| MSB
LSB
NUMBER
GROUP
NUMBER
|
|=========================================================================|
| 000 - 032
000
001 - 128
Preset(GM)
257 - 512 |
| 064
000
001 - 128
User
001 - 128 |
| 065
000
001 - 128
Preset
001 - 128 |
| 066
000
001 - 128
Preset
129 - 256 |
| 121
000 - 009
001 - 128
Preset(GM)
257 - 512 |
++
Drum Set
++
| BANK SELECT
BANK SELECT
PROGRAM
DRUMSET
DRUMSET
|
| MSB
LSB
NUMBER
GROUP
NUMBER
|
|=========================================================================|
| 000
000
001 - 057
Preset(GM)
012 - 020 |
| 064
000
001 - 002
User
001 - 002 |
| 065
000
001 - 011
Preset
001 - 011 |
| 120
000
001 - 057
Preset(GM)
012 - 020 |
++
Modulation (Controller number 1)

Status
2nd byte
3rd byte
BnH
01H
vvH
0H - FH (ch.1 - ch.16)
vv = Modulation depth:
00H - 7FH (0 - 127)
Portamento Time (Controller number 5)

Status
2nd byte
3rd byte
BnH
05H
vvH
0H - FH (ch.1 - ch.16)
vv = Portamento Time:
00H - 7FH (0 - 127)
*
*
This adjusts the rate of pitch change when Portamento is ON or when using the
Portamento Control.When Portamento Time is 0, portamento will be OFF.
Portamento Time, a Part parameter, is modified.
156
*
*
Pan, a Part parameter, is modified.

For Drum Parts, this is a relative adjustment of each Instrument's pan setting.
Expression (Controller number 11)

Status
2nd byte
3rd byte
BnH
0BH
vvH
0H - FH (ch.1 - ch.16)
vv = Expression:
00H - 7FH (0 - 127)
*
It can be used independently from Volume messages. Expression messages are used for
musical expression within a performance; e.g., expression pedal movements, crescendo
and decrescendo.
Effect Control 1 (Controller number 12)

Status
2nd byte
3rd byte
BnH
0CH
vvH
0H - FH (ch.1 - ch.16)
vv = Control value:
00H - 7FH (0 - 127)

Status
2nd byte
3rd byte
BnH
0DH
vvH
0H - FH (ch.1 - ch.16)
vv = Control value:
00H - 7FH (0 - 127)
Hold 1 (Controller number 64)

Status
2nd byte
3rd byte
BnH
40H
vvH
0H - FH (ch.1 - ch.16)
vv = Control value:
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
Portamento (Controller number 65)

Status
2nd byte
3rd byte
BnH
41H
vvH
0H - FH (ch.1 - ch.16)
vv = Control value:
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
*
Portamento Switch, a Part parameter, is modified.
Sostenuto (Controller number 66)

Status
2nd byte
3rd byte
BnH
42H
vvH
0H - FH (ch.1 - ch.16)
vv = Control value:
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
Soft (Controller number 67)

Status
2nd byte
3rd byte
BnH
43H
vvH
0H - FH (ch.1 - ch.16)
vv = Control value:
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
MIDI Implementation
Resonance (Controller number 71)
Status
2nd byte
BnH
47H
vv = Resonance value (relative change):
Effect 1 (Reverb Send Level) (Controller number 91)
3rd byte
vvH
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-64 - 0 - +63)
Filter Resonance, a Tone parameter, is modified.
The rate of the pitch change caused by Portamento Control is determined by the
Portamento Time value.
Status
2nd byte
3rd byte
BnH
5BH
vvH
0H - FH (ch.1 - ch.16)
vv = Reverb Send Level:
00H - 7FH (0 - 127)
Release Time (Controller number 72)

Status
2nd byte
3rd byte
BnH
48H
vvH
0H - FH (ch.1 - ch.16)
vv = Release Time value (relative change):
00H - 40H - 7FH (-64 - 0 - +63)
*
Envelope Release, a Tone parameter, is modified.
Reverb Send Level, a Part parameter, is modified.
Effect 3 (Chorus Send Level) (Controller number 93)

Status
2nd byte
3rd byte
BnH
5DH
vvH
0H - FH (ch.1 - ch.16)
vv = Chorus Send Level:
00H - 7FH (0 - 127)
Attack time (Controller number 73)
Envelope Attack, a Tone parameter, is modified.
Cutoff (Controller number 74)

Status
2nd byte
BnH
4AH
vv = Cutoff value (relative change):
*
3rd byte
vvH
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-64 - 0 - +63)
Filter Cutoff, a Tone parameter, is modified.
Decay Time (Controller number 75)

Status
2nd byte
3rd byte
BnH
4BH
vvH
0H - FH (ch.1 - ch.16)
vv = Decay Time value (relative change):
00H - 40H - 7FH (-64 - 0 - +63)
*
Envelope Decay, a Tone parameter, is modified.
Vibrato Rate (Controller number 76)

Status
2nd byte
3rd byte
BnH
4CH
vvH
0H - FH (ch.1 - ch.16)
vv = Vibrato Rate value (relative change):
00H - 40H - 7FH (-64 - 0 - +63)
*
Chorus Send Level, a Part parameter, is modified.
RPN MSB/LSB (Controller number 100, 101)

Status
2nd byte
3rd byte
BnH
65H
mmH
BnH
64H
llH
0H - FH (ch.1 - ch.16)
mm = upper byte of parameter number specified by RPN
ll = lower byte of parameter number specified by RPN
<<< RPN >>>
The RPN (Registered Parameter Number) messages are expanded control changes, and each
function of an RPN is described by the MIDI Standard.
To use these messages, you must first use RPN MSB and RPN LSB messages to specify the
parameter to be controlled, and then use Data Entry messages to specify the value of the
specified parameter. Once an RPN parameter has been specified, all Data Entry messages
received on that channel will modify the value of that parameter. To prevent accidents, it is
recommended that you set RPN Null (RPN Number = 7FH/7Fh) when you have finished
setting the value of the desired parameter.
This device receives the following RPNs.
RPN
MSB LSB
00H 00H
Data entry
MSB LSB
mmH llH
00H 01H
mmH llH
Channel Fine Tuning

mm, ll: 00 00H - 40 00H - 7F 7FH
(-100 - 0 - +99.99 cents)
* Fine Tune, a Part parameter, is modified.
00H 02H
mmH llH
Channel Coarse Tuning

mm: 28H - 40H - 58H (-24 - 0 - +24 semitones)
ll: ignored (processed as 00H)
* Key Shift, a Part parameter, is modified.
However, the setting is disabled if the drum
set is already assigned to the Part.
00H 05H
mmH llH
Modulation Depth Range

mm, ll: 00 00H - 06 00H
(0 - 16384 * 600 / 16384 cent)
7FH 7FH
--- ---
RPN null
Set condition where RPN and NRPN are
unspecified. The data entry messages after set
RPN null will be ignored. (No Data entry
messages are required after RPN null).
Settings already made will not change.
mm, ll: ignored
LFO Rate, a Tone parameter, is modified.
Vibrato Depth (Controller number 77)

Status
2nd byte
3rd byte
BnH
4DH
vvH
0H - FH (ch.1 - ch.16)
vv = Vibrato Depth Value (relative change):
00H - 40H - 7FH (-64 - 0 - +63)
*
LFO Depth, a Tone parameter, is modified.
Vibrato Delay (Controller number 78)

Status
2nd byte
3rd byte
BnH
4EH
vvH
0H - FH (ch.1 - ch.16)
vv = Vibrato Delay value (relative change):
00H - 40H - 7FH (-64 - 0 - +63)
*
LFO Delay, a Tone parameter, is modified.
Portamento control (Controller number 84)

Status
2nd byte
3rd byte
BnH
54H
kkH
0H - FH (ch.1 - ch.16)
kk = source note number:
00H - 7FH (0 - 127)
*
*
Explanation
Pitch Bend Sensitivity
mm: 00H - 18H (0 - 24 semitones)
ll: ignored (processed as 00H)
specify up to 2 octaves in semitone steps
* Pitch Bend Range, a Part parameter, is
modified.
A Note-on received immediately after a Portamento Control message will change

continuously in pitch, starting from the pitch of the Source Note Number.
If a voice is already sounding for a note number identical to the Source Note Number,
this voice will continue sounding (i.e., legato) and will, when the next Note-on is
received, smoothly change to the pitch of that Note-on.
157
MIDI Implementation
Status
2nd byte
3rd byte
BnH
49H
vvH
0H - FH (ch.1 - ch.16)
vv = Attack time value (relative change):
00H - 40H - 7FH (-64 - 0 - +63)
MIDI Implementation
Program Change
MONO (Controller number 126)
Status
2nd byte
CnH
ppH
0H - FH (ch.1 - ch.16)
pp = Program number:
00H - 7FH (prog.1 - prog.128)
Status
2nd byte
3rd byte
BnH
7EH
mmH
0H - FH (ch.1 - ch.16)
mm=mono number:
00H - 10H (0 - 16)
*
*
Not received when Rx Tone Change, a Part parameter, is set to OFF.

After a Program Change message is received, the sound will change beginning with the
next Note-on. Voices already sounding when the Program Change message was
received will not be affected.
The same processing will be carried out as when All Sounds Off and All Notes Off is
received, and the corresponding channel will be set to Mode 4 (M=1) regardless of the
value of mono number.
Solo Sw, a Part parameter, is switched ON.
Pitch Bend Change
POLY (Controller number 127)
Status
2nd byte
3rd byte
EnH
llH
mmH
0H - FH (ch.1 - ch.16)
mm, ll = Pitch Bend value:
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
Status
2nd byte
3rd byte
BnH
7FH
00H
0H - FH (ch.1 - ch.16)
*
Channel Mode Messages

*
Not received when Rx Channel, a Part parameter, is set to OFF.
All Sounds Off (Controller number 120)

Status
2nd byte
3rd byte
BnH
78H
00H
0H - FH (ch.1 - ch.16)
*
When this message is received, all currently-sounding notes on the corresponding

channel will be turned off immediately.
The same processing will be carried out as when All Sounds Off and All Notes Off is
received, and the corresponding channel will be set to Mode 3.
Solo Sw, a Part parameter, is switched OFF.
System Realtime Message

Timing Clock
Status
F8H
*
Received when Sync Source is MIDI. When received Timing Clock, Arpeggio will played
with tempo of intervals of this message.
Reset All Controllers (Controller number 121)
Start
Status
2nd byte
3rd byte
BnH
79H
00H
n = MIDI channel number:0H - FH (ch.1 - ch.16)
Status
FAH
*
When this message is received, the following controllers will be set to their reset values.
Controller
Pitch Bend Change
Polyphonic Key Pressure
Channel Pressure
Modulation
Expression
Hold 1
Sostenuto
Soft
RPN
NRPN
Reset value
+/-0 (center)
0 (off)
0 (off)
0 (off)
127 (max)
0 (off)
0 (off)
0 (off)
unset; previously set data will not change
unset; previously set data will not change
All Notes Off (Controller number 123)

Status
2nd byte
3rd byte
BnH
7BH
00H
0H - FH (ch.1 - ch.16)
*
When All Notes Off is received, all notes on the corresponding channel will be turned
off. However if Hold 1 or Sostenuto is ON, the sound will be continued until these are
turned off.
OMNI OFF (Controller number 124)

Status
2nd byte
3rd byte
BnH
7CH
00H
0H - FH (ch.1 - ch.16)
*
The same processing will be carried out as when All Notes Off is received.
OMNI ON (Controller number 125)

Status
2nd byte
3rd byte
BnH
7DH
00H
0H - FH (ch.1 - ch.16)
*
OMNI ON is only recognized as All notes off; the Mode doesn't change (OMNI OFF
remains).
158
Received when Sync Source is MIDI. When received this message, Arpeggio will be
started from the first.
Continue
Status
FBH
*
Received when Sync Source is MIDI. If received this message when stopped Arpeggio by
received Stop, Arpeggio will be started from continued from the stopped position.
Stop
Status
FCH
*
Received when Sync Source is MIDI. When received this message, Arpeggio will be
stopped.
Active Sensing
Status
FEH
*
When Active Sensing is received, the unit will begin monitoring the intervals of all
further messages. While monitoring, if the interval between messages exceeds 420 ms,
the same processing will be carried out as when All Sounds Off, All Notes Off and Reset
All Controllers are received, and message interval monitoring will be halted.
MIDI Implementation
System Exclusive Message
Turn General MIDI System Off
Data byte
iiH, ddH, ......,eeH
F0H:
ii = ID number:
System Exclusive Message status

an ID number (manufacturer ID) to indicate the manufacturer whose
Exclusive message this is. Roland's manufacturer ID is 41H. ID
numbers 7EH and 7FH are extensions of the MIDI standard; Universal
Non-realtime Messages (7EH) and Universal Realtime Messages
(7FH).
00H - 7FH (0 - 127)
EOX (End Of Exclusive)
dd,..., ee = data:
F7H:
Status
F7H
Status
F0H
Data byte
7EH, 7FH, 09H, 02H
Byte
F0H
7EH
7FH
09H
02H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (General MIDI message)
Sub ID#2 (General MIDI Off)
EOX (End of exclusive)
*
The System Exclusive Messages received by the RS-5/9 are; Universal Non-realtime System
Exclusive messages, Universal Realtime System Exclusive messages, Global Parameter
Control, Data Requests (RQ1), and Data Set (DT1).
*
Not received when Rx System Exclusive, a System parameter, is set to OFF.
Universal Non-realtime System Exclusive Messages

Identity Request Message
Status
F0H
Data byte
7EH, dev, 06H, 01H
Byte
F0H
7EH
dev
06H
01H
F7H
Explanation
Exclusive status
Device ID (dev: 10H - 1FH, 7FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Request)
Status
F7H
When this message is received, Identity Reply message (p. 164) will be transmitted.
System Exclusive messages related to mode settings
Status
F0H
Data byte
7EH, 7FH, 09H, 01H
Byte
F0H
7EH
7FH
09H
01H
F7H
Explanation
Exclusive status
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI 1 On)
*
*
*
Status
F7H
When this message is received, GM1-compliant messages will thereafter be accepted,

and the tone mapping will conform with GM1 specifications.
This message causes Bank Select and NRPN not to be received.
Not received when Rx GM System On, a System parameter, is set to OFF.
There must be an interval of at least 50 ms between this message and the next message.
Turn General MIDI 2 System On

Status
F0H
Data byte
7EH, 7FH, 09H, 03H
Byte
F0H
7EH
7FH
09H
03H
F7H
Explanation
Exclusive status
*
*
*
When this message is received, the device's internal status is reset to its native mode,
thus exiting GM mode.
GS reset
Status
F0H
Data byte
41H, dev, 42H, 12H, 40H, 00H, 7FH, 00H, 41H
Byte
F0H
41H
dev
42H
12H
40H
00H
7FH
00H
41H
F7H
Explanation
Exclusive status
ID number (Roland)
Device ID (dev: 10H - 1FH)
Model ID (GS)
Command ID (DT1)
Address MSB
Address
Address LSB
Data (GS reset)
Checksum
Status
F7H
Universal Realtime System Exclusive Messages

Master volume
Status
F7H
Status
F7H
When this message is received, GM2-compliant messages will thereafter be accepted,

and the tone mapping will conform with GM2 specifications.
Not received when Rx GM2 System On, a System parameter, is set to OFF.
Status
F0H
Data byte
7FH, 7FH, 04H, 01H, llH, mmH
Byte
F0H
7FH
7FH
04H
01H
llH
mmH
F7H
Explanation
Exclusive status
ID number (universal realtime message)
Sub ID#1 (Device Control messages)
Sub ID#2 (Master Volume)
Master volume lower byte
Master volume upper byte
Status
F7H
The lower byte (llH) of Master Volume will be handled as 00H.
Master Fine Tuning

Status
F0H
Data byte
Byte
F0H
7FH
7FH
04H
03H
llH
mmH
F7H
Explanation
Exclusive status
Sub ID#1 (Device Control)
Sub ID#2 (Master Fine Tuning)
Master Fine Tuning LSB
Master Fine Tuning MSB
Status
F7H
mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])

*
Master Tune, a System parameter, is modified.
159
MIDI Implementation
Status
F0H
MIDI Implementation
Master Coarse Tuning

Status
F0H
Data byte
Byte
F0H
7FH
7FH
04H
04H
llH
mmH
F7H
Explanation
Exclusive status
Sub ID#2 (Master Coarse Tuning)
Master Coarse Tuning LSB
Master Coarse Tuning MSB
Chorus Parameters
Status
F7
llH: ignored (processed as 00H)

mmH: 28H - 40H - 58H (-24 - 0 - +24 [semitones])
*
Master Key Shift, a System parameter, is modified.
Status
F0H
Data byte
7FH, 7FH, 04H, 05H, 01H, 01H,
01H, 01H, 02H, ppH, vvH
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
02H
ppH
vvH
Explanation
Exclusive status
Sub ID#2 (Global Parameter Control)
Slot path length
Parameter ID width
Value width
Slot path MSB
Slot path LSB (Effect 0102: Chorus)
Parameter to be controlled.
Value for the parameter.
pp = 0 Chorus Type
vv = 0 Chorus1
vv = 1 Chorus2
vv = 2 Chorus3
vv = 3 Chorus4
vv = 4 FB Chorus
vv = 5 Flanger
* Chorus Type, a Common parameter, is modified.
pp = 1 Mod Rate
vv = 00H - 7FH (0 - 127)
* Chorus Rate, a Common parameter, is modified.
pp = 2 Mod Depth
vv = 00H - 7FH (0 - 127)
* Chorus Depth, a Common parameter, is modified.
pp = 3 Feedback
vv = 00H - 7FH (0 - 127)
* Chorus Feedback, a Common parameter, is modified.
pp = 4 Send To Reverb
vv = 00H - 7FH (0 - 127)
* Chorus Send To Reverb, a Common parameter, is modified.
Global Parameter Control

The following parameters for Global Parameter Control are defined in GM2.
Reverb Parameters
Status
F0H
Data byte
7FH, 7FH, 04H, 05H, 01H, 01H,
01H, 01H, 01H, ppH, vvH
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
01H
ppH
vvH
Explanation
Exclusive status
Sub ID#2 (Global Parameter Control)
Slot path length
Parameter ID width
Value width
Slot path MSB
Slot path LSB (Effect 0101: Reverb)
Parameter to be controlled.
Value for the parameter.
pp = 0 Reverb Type
vv = 00H Small Room
vv = 01H Medium Room
vv = 02H Large Room
vv = 03H Medium Hall
vv = 04H Large Hall
vv = 08H Plate
* Reverb Type, a Common parameter, is modified.
pp = 1 Reverb Time
vv = 00H - 7FH 0 - 127
* Reverb Time, a Common parameter, is modified.
F7H
Status
F7H
F7H
Channel Pressure
Status
F0H
Data byte
7FH, 7FH, 09H, 01H, 0nH, ppH, rrH
Byte
F0H
7FH
7FH
09H
01H
0nH
ppH
rrH
Explanation
Exclusive status
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Channel Pressure)
MIDI Channel (00 - 0F)
Controlled parameter
Controlled range
pp = 0 Pitch Control
rr = 28H - 58H (-24 - +24 [semitones])
pp = 1 Filter Cutoff Control
rr = 00H - 7FH (-9600 - +9450 [cents])
pp = 2 Amplitude Control
rr = 00H - 7FH (0 - 200%)
pp = 3 LFO Pitch Depth
rr = 00H - 7FH (0 - 600 [cents])
pp = 4 LFO Filter Depth
rr = 00H - 7FH (0 - 2400 [cents])
pp = 5 LFO Amplitude Depth
rr = 00H - 7FH (0 - 100%)
F7H
160
Status
F7H
Status
7FH
MIDI Implementation
Data transmission
Controller
Data byte
7FH, 7FH, 09H, 03H, 0nH, ccH, ppH, rrH
Byte
F0H
7FH
7FH
09H
03H
0nH
ccH
ppH
rrH
Explanation
Exclusive status
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Control Change)
Controller number (01 - 1F, 40 - 5F)
Controlled parameter
Controlled range
pp = 0 Pitch Control
rr = 28H - 58H (-24 - +24 [semitones])
pp = 1 Filter Cutoff Control
rr = 00H - 7FH (-9600 - +9450 [cents])
pp = 2 Amplitude Control
rr = 00H - 7FH (0 - 200%)
pp = 3 LFO Pitch Depth
rr = 00H - 7FH (0 - 600 [cents])
pp = 4 LFO Filter Depth
rr = 00H - 7FH (0 - 2400 [cents])
pp = 5 LFO Amplitude Depth
rr = 00H - 7FH (0 - 100%)
F7H
Status
F7H
Request data 1 (RQ1)

This message requests the other device to transmit data. The address and size indicate the
type and amount of data that is requested.
When a Data Request message is received, if the device is in a state in which it is able to
transmit data, and if the address and size are appropriate, the requested data is transmitted
as a Data Set 1 (DT1) message. If the conditions are not met, nothing is transmitted.
Status
Scale/Octave Tuning Adjust

Status
F0H
Data byte
7EH, 7FH, 08H, 08H, ffH, ggH, hhH, ssH...
Byte
F0H
7EH
7FH
08H
08H
ffH
Explanation
Exclusive status
Sub ID#1 (MIDI Tuning Standard)
Sub ID#2 (scale/octave tuning 1-byte form)
Channel/Option byte 1
bits 0 to 1 = channel 15 to 16
bit 2 to 6 = Undefined
Channel byte 2
Channel byte 3
12 byte tuning offset of 12 semitones from C to B
00H = -64 [cents]
40H = 0 [cents] (equal temperament)
7FH = +63 [cents]
ggH
hhH
ssH
F7H
Status
F7
Data byte
7FH, 7FH, 0AH, 01H, 0nH, kkH, nnH, vvH
Byte
F0H
7FH
7FH
0AH
01H
0nH
kkH
nnH
vvH
Explanation
Exclusive status
Sub ID#1 (Key-Based Instrument Control)
Sub ID#2 (Controller)
Key Number
Control Number
Value
nn = 07H Level
vv = 00H - 7FH (0 - 200%) (Relative)
* Level, a Drum Set parameter, is modified.
nn = 0AH Pan
vv = 00H - 7FH (Left - Right) (Absolute)
* Pan, a Drum Set parameter, is modified.
nn = 5BH Reverb Send
vv = 00H - 7FH (0 - 127) (Absolute)
* Reverb Send, a Drum Set parameter, is modified.
nn = 5D Chorus Send
vv = 00H - 7FH (0 - 127) (Absolute)
:
:
F7
F0H
Data byte
41H, dev, 00H, 3CH, 11H, aaH, bbH,
ccH, ddH, ssH, ttH, uuH, vvH, sum
Byte
F0H
41H
dev
00H
3CH
11H
aaH
bbH
ccH
ddH
ssH
ttH
uuH
vvH
sum
F7H
Remarks
Exclusive status
ID number (Roland)
model ID #1 (RS-5/9)
command ID (RQ1)
address MSB
address
address
address LSB
size MSB
size
size
size LSB
checksum
Status
F7H
The size of data that can be transmitted at one time is fixed for each type of data. And
data requests must be made with a fixed starting address and size. Refer to the address
and size given in Parameter Address Map (p. 165).
For the checksum, refer to (p. 170).
Data set 1 (DT1)

This is the message that actually performs data transmission, and is used when you wish to
transmit the data.
Key-based Instrument Controllers

Status
F0H
This instrument can use exclusive messages to exchange many varieties of internal settings
with other devices.
The model ID of the exclusive messages used by this instrument is 00H 3CH.
Status
F7H
Status
F0H
Data byte
41H, dev, 00H, 10H, 12H, aaH, bbH,
ccH, ddH, eeH, ... ffH, sum
Byte
F0H
41H
dev
00H
3CH
12H
aaH
bbH
ccH
ddH
eeH
Explanation
Exclusive status
ID number (Roland)
Command ID (DT1)
Address MSB
Address
Address
Address LSB
Data: the actual data to be sent. Multiple bytes of data are
transmitted in order starting from the address.
:
Data
Checksum
:
ffH
sum
F7H
*
*
*
Status
F7H
The amount of data that can be transmitted at one time depends on the type of data, and
data will be transmitted from the specified starting address and size. Refer to the address
Data larger than 128 bytes will be divided into packets of 128 bytes or less, and each
packet will be sent at an interval of about 40 ms.
Regarding the checksum, please refer to (p. 170)
161
MIDI Implementation
Status
F0H
MIDI Implementation
2. Data Transmission
Channel Voice Messages
Pan (Controller number 10)

Status
2nd byte
3rd byte
BnH
0AH
vvH
0H - FH (ch.1 - ch.16)
vv = pan:
00H - 40H - 7FH (Left - Center - Right)
Note off
Status
2nd byte
3rd byte
8nH
kkH
vvH
0H - FH (ch.1 - ch.16)
kk = note number:
0CH - 78H (12 - 120)
vv = note off velocity:
00H - 7FH (0 - 127)
Note on
Status
2nd byte
3rd byte
9nH
kkH
vvH
0H - FH (ch.1 - ch.16)
kk = note number:
0CH - 78H (12 - 120)
vv = note on velocity:
01H - 7FH (1 - 127)
Control Change
Bank Select (Controller number 0, 32)
Status
2nd byte
3rd byte
BnH
00H
mmH
BnH
20H
llH
0H - FH (ch.1 - ch.16)
mm, ll = Bank number:
00H 00H - 7FH 7FH (bank.1 - bank.16384)
*
*
Sent when the tones are switched using the panel controls, but not sent when the System
parameter Tx Bank Select is set to OFF.
This message is transmitted when Send GM/GM2 Setup is executed.
Modulation (Controller number 1)

Status
2nd byte
3rd byte
BnH
01H
vvH
0H - FH (ch.1 - ch.16)
vv = Modulation depth:
00H - 7FH (0 - 127)
*
Sent when the Common parameter Modulation/Pedal/C1-C4 Assign is set to

MODULATION.
Portamento Time (Controller number 5)

Status
2nd byte
3rd byte
BnH
05H
vvH
0H - FH (ch.1 - ch.16)
vv = Portamento Time:
00H - 7FH (0 - 127)
*
*

PORTAMENTO TIME.
Data Entry (Controller number 6, 38)

Status
2nd byte
3rd byte
BnH
06H
mmH
BnH
26H
llH
0H - FH (ch.1 - ch.16)
mm, ll = the value of the parameter specified by RPN/NRPN
mm = MSB, ll = LSB
*
Volume (Controller number 7)

Status
2nd byte
3rd byte
BnH
07H
vvH
0H - FH (ch.1 - ch.16)
vv = Volume:
00H - 7FH (0 - 127)
*
*
Sent when the Common parameter Modulation/Pedal/C1-C4 Assign is set to VOLUME

or UP-LO BALANCE.
162
*
*
Sent when the Common parameter Modulation/Pedal/C1-C4 Assign is set to PAN.

Expression (Controller number 11)

Status
2nd byte
3rd byte
BnH
0BH
vvH
0H - FH (ch.1 - ch.16)
vv = Expression:
00H - 7FH (0 - 127)
*

EXPRESSION.

Status
2nd byte
3rd byte
BnH
0CH
vvH
0H - FH (ch.1 - ch.16)
vv = Control value:
00H - 7FH (0 - 127)
*
Sent when the Common parameter Modulation/Pedal/C1-C4 Assign is set to MFX

PARAMETER 1.

Status
2nd byte
3rd byte
BnH
0DH
vvH
0H - FH (ch.1 - ch.16)
vv = Control value:
00H - 7FH (0 - 127)
*
Sent when the Common parameter Modulation/Pedal/C1-C4 Assign is set to MFX

PARAMETER 2.

Status
2nd byte
3rd byte
BnH
40H
vvH
0H - FH (ch.1 - ch.16)
vv = Control value:
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
*
Sent when the HOLD pedal is operated with the Common parameter Arpeggio Switch
set to OFF.
Portamento (Controller number 65)

Status
2nd byte
3rd byte
BnH
41H
vvH
0H - FH (ch.1 - ch.16)
vv = Control value:
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
*
*

PORTAMENTO.
Sostenuto (Controller number 66)

Status
2nd byte
3rd byte
BnH
42H
vvH
0H - FH (ch.1 - ch.16)
vv = Control value:
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
*

SOSTENUTO.
Soft (Controller number 67)

Status
2nd byte
3rd byte
BnH
43H
vvH
0H - FH (ch.1 - ch.16)
vv = Control value:
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
*
Sent when the Common parameter Modulation/Pedal/C1-C4 Assign is set to SOFT.
MIDI Implementation
Vibrato Delay (Controller number 78)
Status
2nd byte
3rd byte
BnH
45H
vvH
0H - FH (ch.1 - ch.16)
vv = Control value:
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
Status
2nd byte
3rd byte
BnH
4EH
vvH
0H - FH (ch.1 - ch.16)
vv = Vibrato Delay value (relative change):
00H - 40H - 7FH (-64 - 0 - +63)
Resonance (Controller number 71)

Status
2nd byte
BnH
47H
vv = Resonance value (relative change):
*
*
3rd byte
vvH
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-64 - 0 - +63)

RESONANCE.
Release Time (Controller number 72)

Status
2nd byte
3rd byte
BnH
48H
vvH
0H - FH (ch.1 - ch.16)
vv = Release Time value (relative change):
00H - 40H - 7FH (-64 - 0 - +63)
*
*
Sent when the Common parameter Modulation/Pedal/C1-C4 Assign is set to RELEASE

TIME.
Attack time (Controller number 73)

Status
2nd byte
3rd byte
BnH
49H
vvH
0H - FH (ch.1 - ch.16)
vv = Attack time value (relative change):
00H - 40H - 7FH (-64 - 0 - +63)
*
*
Sent when the Common parameter Modulation/Pedal/C1-C4 Assign is set to ATTACK

TIME.
Cutoff (Controller number 74)

Status
2nd byte
BnH
4AH
vv = Cutoff value (relative change):
*
*
3rd byte
vvH
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-64 - 0 - +63)
Sent when the Common parameter Modulation/Pedal/C1-C4 Assign is set to CUTOFF.

Decay Time (Controller number 75)

Status
2nd byte
3rd byte
BnH
4BH
vvH
0H - FH (ch.1 - ch.16)
vv = Decay Time value (relative change):
00H - 40H - 7FH (-64 - 0 - +63)
*
*
Sent when the Common parameter Modulation/Pedal/C1-C4 Assign is set to DECAY

TIME.
Vibrato Rate (Controller number 76)

Status
2nd byte
3rd byte
BnH
4CH
vvH
0H - FH (ch.1 - ch.16)
vv = Vibrato Rate value (relative change):
00H - 40H - 7FH (-64 - 0 - +63)
*
*
Sent when the Common parameter Modulation/Pedal/C1-C4 Assign is set to LFO

RATE.
Vibrato Depth (Controller number 77)

Status
2nd byte
3rd byte
BnH
4DH
vvH
0H - FH (ch.1 - ch.16)
vv = Vibrato Depth Value (relative change):
00H - 40H - 7FH (-64 - 0 - +63)
*
*

DEPTH.

DELAY.
Portamento control (Controller number 84)

Status
2nd byte
3rd byte
BnH
54H
kkH
0H - FH (ch.1 - ch.16)
kk = source note number:
00H - 7FH (0 - 127)
Effect 1 (Reverb Send Level) (Controller number 91)

Status
2nd byte
3rd byte
BnH
5BH
vvH
0H - FH (ch.1 - ch.16)
vv = Reverb Send Level:
00H - 7FH (0 - 127)
*
*
Sent when the Common parameter Modulation/Pedal/C1-C4 Assign is set to REV

SEND LEVEL.
Effect 3 (Chorus Send Level) (Controller number 93)

Status
2nd byte
3rd byte
BnH
5DH
vvH
0H - FH (ch.1 - ch.16)
vv = Chorus Send Level:
00H - 7FH (0 - 127)
*
*
Sent when the Common parameter Modulation/Pedal/C1-C4 Assign is set to CHO

SEND LEVEL.
RPN MSB/LSB (Controller number 100, 101)

Status
2nd byte
3rd byte
BnH
65H
mmH
BnH
64H
llH
0H - FH (ch.1 - ch.16)
mm=upper byte of parameter number specified by RPN
ll=lower byte of parameter number specified by RPN
*
<<< RPN >>>

The RPN (Registered Parameter Number) messages are expanded control changes, and each
function of an RPN is described by the MIDI Standard.
To use these messages, you must first use RPN MSB and RPN LSB messages to specify the
parameter to be controlled, and then use Data Entry messages to specify the value of the
specified parameter. Once an RPN parameter has been specified, all Data Entry messages
received on that channel will modify the value of that parameter. To prevent accidents, it is
recommended that you set RPN Null (RPN Number = 7FH/7Fh) when you have finished
setting the value of the desired parameter.
This device transmits the following RPNs.
RPN
MSB LSB
00H 00H
Data entry
MSB LSB
mmH llH
00H 01H
mmH llH
Channel Fine Tuning

mm, ll: 00 00H - 40 00H - 7F 7FH
(-100 - 0 - +99.99 cents)
00H 02H
mmH llH
Channel Coarse Tuning

mm: 28H - 40H - 58H (-24 - 0 - +24 semitones)
ll: 00H
7FH 7FH
--- ---
RPN null
Set condition where RPN and NRPN are
unspecified.
Settings already made will not change.
mm, ll: ignored
Explanation
Pitch Bend Sensitivity
mm: 00H - 18H (0 - 24 semitones)
ll: 00H
163
MIDI Implementation
Sent when the Panic function is activated.
MIDI Implementation
Program Change
System exclusive messages
Status
2nd byte
CnH
ppH
0H - FH (ch.1 - ch.16)
pp = Program number:
00H - 7FH (prog.1 - prog.128)
The System Exclusive Messages transmitted by the RS-5/9 are; Universal Non-realtime
System Exclusive messages and Data Set (DT1).
This message is transmitted when tone change is made on the panel or Send GM/GM2
Setup is executed.
Channel Pressure

AFTERTOUCH.
Pitch Bend Change

Status
EnH
2nd byte
llH

mm, ll = Pitch Bend value:
Identity Reply Message (RS-5)

Receiving Identity Request Message, the RS-5 send this message.
Status
Status
2nd byte
DnH
vvH
0H - FH (ch.1 - ch.16)
vv = Channel Pressure:
00H - 7FH (0 - 127)
*
Universal Non-realtime System Exclusive Message
3rd byte
mmH
0H - FH (ch.1 - ch.16)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
F0H
Data byte
7EH, dev, 06H, 02H, 41H, 3CH, 01H,
00H, 00H, 00H, 01H, 00H, 00H
Status
F7H
Byte
F0H
7EH
dev
06H
02H
41H
3CH 01H
00H 00H
00H 01H 00H 00H
F7H
Explanation
Exclusive status
Sub ID#2 (Identity Reply)
ID number (Roland)
Device family code (RS-5)
Device family number code (RS-5)
Software revision level
EOX (End of Exclusive)
Identity Reply Message (RS-9)
Channel Mode Messages
Receiving Identity Request Message, the RS-9 send this message.
All Sounds Off (Controller number 120)
Status
F0H
Data byte
7EH, dev, 06H, 02H, 41H, 3CH, 01H,
00H, 00H, 01H, 01H, 00H, 00H
Byte
F0H
7EH
dev
06H
02H
41H
3CH 01H
00H 00H
01H 01H 00H 00H
F7H
Explanation
Exclusive status
Sub ID#2 (Identity Reply)
ID number (Roland)
Device family code (RS-9)
Device family number code (RS-9)
Software revision level
EOX (End of Exclusive)
Status
2nd byte
3rd byte
BnH
78H
00H
n = MIDI channel number
:0H - FH (ch.1 - ch.16)
*
Reset All Controllers (Controller number 121)

Status
2nd byte
3rd byte
BnH
79H
00H
n = MIDI channel number
:0H - FH (ch.1 - ch.16)
*
System Realtime Message

Active sensing
Status
FEH
*
This will be transmitted constantly at intervals of approximately 250ms.
Status
F7H

Status
F0H
Data byte
7EH, 7FH, 09H, 01H
Byte
F0H
7EH
7FH
09H
01H
F7H
Explanation
Exclusive status
Status
F7H
This message is transmitted when Send General MIDI 1 Setup is executed.

Status
F0H
Data byte
7EH, 7FH, 09H, 03H
Byte
F0H
7EH
7FH
09H
03H
F7H
Explanation
Exclusive status
164
Status
F7H
This message is transmitted when Send General MIDI 2 Setup is executed.
MIDI Implementation
Data set 1 (DT1)

Status
F0H
Data byte
Status
41H, dev, 00H, 3CH, 12H, aaH, bbH, F7H
ccH, ddH, eeH, ... ffH, sum
Byte
Explanation
Exclusive status
ID number (Roland)
Model ID #1 (RS-5/9)
Model ID #2 (RS-5/9)
Command ID (DT1)
Address MSB
Address
Address
Address LSB
Data: the actual data to be sent. Multiple bytes of data are
transmitted in order starting from the address.
:
Data
Checksum
F0H
41H
dev
00H
3CH
12H
aaH
bbH
ccH
ddH
eeH
:
ffH
sum
F7H
*
*
*
The amount of data that can be transmitted at one time depends on the type of data, and
data will be transmitted from the specified starting address and size. Refer to the address
Data larger than 128 bytes will be divided into packets of 128 bytes or less, and each
packet will be sent at an interval of about 40 ms.
Regarding the checksum, please refer to (p. 170)
3. Parameter Address Map

RS-5/9 (Model ID=00H 3CH)
*
Data for addresses marked with # are transmitted after separation into two bytes. If the
original data's most significant bit is 1, 01H and the remaining seven bits are transmitted
as is. When the most significant bit is 0, 00H and the remaining seven bits are
transmitted as is.
For example, if the original data is BCH, since BCH is expressed in binary notation as
10111100, 01H is sent in the first byte. In the next byte, the remaining 0111100 (or 3CH) is
sent as is. However, during reception, the data is ignored if the two bytes are not received
together.
++
| Start
|
|
|
Address |
Description
|
|===============================================================================|
| 00 00 00 00 | System Setup
|
|+|
| 01 00 00 00 | Temporary Performance
|
|+|
| 02 00 00 00 | Temporary Tone (Part 1)
|
| 02 01 00 00 | Temporary Tone (Part 2)
|
| :
| :
|
| 02 0F 00 00 | Temporary Tone (Part 16)
|
|+|
| 03 00 00 00 | Temporary DrumSet 1
|
| 03 01 00 00 | Temporary DrumSet 2
|
|+|
| 04 00 00 00 | User Performance 1
|
| 04 01 00 00 | User Performance 2
|
| :
| :
|
| 04 7F 00 00 | User Performance 128
|
|+|
| 05 00 00 00 | User Tone 1
|
| 05 01 00 00 | User Tone 2
|
| :
| :
|
| 05 7F 00 00 | User Tone 128
|
|+|
| 06 00 00 00 | User DrumSet 1
|
| 06 01 00 00 | User DrumSet 2
|
++
1. System Setup
++
| Offset
|
|
|
Address |
Description
|
|===============================================================================|
|
00 00 | 0000 000a | Bank Select Transmit Switch
0 - 1 |
|
|
|
(OFF, ON) |
|
00 01 | 0aaa aaaa | Master Key Shift
40 - 88 |
|
|
|
(-24 - +24) |
|#
00 02 | 0000 aaaa | Master Tune
24 - 2024 |
|
| 0bbb bbbb |
(415.3 - 466.2) |
|
00 04 | 0000 000a | Control Pedal Polarity
0 - 1 |
|
|
|
(NORMAL, REVERSE) |
|
00 05 | 0000 000a | Hold Pedal Polarity
0 - 1 |
|
|
|
(NORMAL, REVERSE) |
|
00 06 | 0000 000a | MFX Master Switch
0 - 1 |
|
|
|
(OFF, ON) |
|
00 07 | 0000 000a | Chorus Master Switch
0 - 1 |
|
|
|
(OFF, ON) |
|
00 08 | 0000 000a | Reverb Master Switch
0 - 1 |
|
|
|
(OFF, ON) |
|
00 09 | 0000 000a | Favorite Performance 1 Group
0 - 1 |
|
|
|
(USER, PRESET) |
|
00 0A | 0000 000a | Favorite Performance 2 Group
0 - 1 |
|
|
|
(USER, PRESET) |
|
00 0B | 0000 000a | Favorite Performance 3 Group
0 - 1 |
|
|
|
(USER, PRESET) |
|
00 0C | 0000 000a | Favorite Performance 4 Group
0 - 1 |
|
|
|
(USER, PRESET) |
|
00 0D | 0000 000a | Favorite Performance 5 Group
0 - 1 |
|
|
|
(USER, PRESET) |
|
00 0E | 0000 000a | Favorite Performance 6 Group
0 - 1 |
|
|
|
(USER, PRESET) |
|
00 0F | 0000 000a | Favorite Performance 7 Group
0 - 1 |
|
|
|
(USER, PRESET) |
|
00 10 | 0000 000a | Favorite Performance 8 Group
0 - 1 |
|
|
|
(USER, PRESET) |
|
00 11 | 0aaa aaaa | Favorite Performance 1 Number
0 - 127 |
|
|
|
(1 - 128) |
|
0 - 127 |
|
|
|
(1 - 128) |
|
0 - 127 |
|
|
|
(1 - 128) |
|
0 - 127 |
|
|
|
(1 - 128) |
|
0 - 127 |
|
|
|
(1 - 128) |
|
0 - 127 |
|
|
|
(1 - 128) |
|
0 - 127 |
|
|
|
(1 - 128) |
|
0 - 127 |
|
|
|
(1 - 128) |
|
00 19 | 0000 000a | Current Performance Group
0 - 1 |
|
|
|
(USER, PRESET) |
|
00 1A | 0aaa aaaa | Current Performance Number
0 - 127 |
|
|
|
(1 - 128) |
|===============================================================================|
| 00 00 00 1B | Total Size
|
++
2. Performance
++
| Offset
|
|
|
Address |
Description
|
|===============================================================================|
|
00 00 | Performance Common
|
|
10 00 | Performance Part 1
|
|
11 00 | Performance Part 2
|
|
:
| :
|
|
1F 00 | Performance Part 16
|
++
165
MIDI Implementation
Data transmission
MIDI Implementation
2-1. Performance Common

++
| Offset
|
|
|
Address |
Description
|
|===============================================================================|
|
00 00 | 0aaa aaaa | Performance Name 1
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
00 0A | 0aaa aaaa | Performance Name 11
32 - 125 |
|
|
|
(ASCII) |
|
00 0B | 0aaa aaaa | Performance Name 12
32 - 125 |
|
|
|
(ASCII) |
|
00 0C | 0000 0aaa | Chorus Type
0 - 7 |
|
|
|
(CHORUS1, ..., SHORT DELAY(FB)) |
|
00 0D | 0000 0aaa | Chorus Pre LPF
0 - 7 |
|
|
|
(0 - 7) |
|
00 0E | 0aaa aaaa | Chorus Level
0 - 127 |
|
|
|
(0 - 127) |
|
00 0F | 0aaa aaaa | Chorus Feedback
0 - 127 |
|
|
|
(0 - 127) |
|
00 10 | 0aaa aaaa | Chorus Delay
0 - 127 |
|
|
|
(0 - 127) |
|
00 11 | 0aaa aaaa | Chorus Rate
0 - 127 |
|
|
|
(0 - 127) |
|
00 12 | 0aaa aaaa | Chorus Depth
0 - 127 |
|
|
|
(0 - 127) |
|
00 13 | 0aaa aaaa | Chorus Send Level to Reverb
0 - 127 |
|
|
|
(0 - 127) |
|
00 14 | 0000 0aaa | Reverb Type
0 - 7 |
|
|
|
(ROOM1, ..., PANNING DELAY) |
|
00 15 | 0000 0aaa | Reverb Charactor
0 - 7 |
|
|
|
(0 - 7) |
|
00 16 | 0000 0aaa | Reverb Pre LPF
0 - 7 |
|
|
|
(0 - 7) |
|
00 17 | 0aaa aaaa | Reverb Level
0 - 127 |
|
|
|
(0 - 127) |
|
00 18 | 0aaa aaaa | Reverb Time
0 - 127 |
|
|
|
(0 - 127) |
|
00 19 | 0aaa aaaa | Reverb Delay Feedback
0 - 127 |
|
|
|
(0 - 127) |
|
00 1B | 0000 00aa | MFX Source
0 - 2 |
|
|
|
(UPPER, LOWER, PERFORM) |
|
00 1C | 00aa aaaa | MFX Type
0 - 42 |
|
|
|
(THROUGH, ..., SLICER) |
|
00 1D | 0aaa aaaa | MFX Parameter 1
0 - 127 |
|
|
|
(0 - 127) |
|
00 1E | 0aaa aaaa | MFX Parameter 2
0 - 127 |
|
|
|
(0 - 127) |
|
00 1F | 0aaa aaaa | MFX Parameter 3
0 - 127 |
|
|
|
(0 - 127) |
|
00 20 | 0aaa aaaa | MFX Parameter 4
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
00 2A | 0aaa aaaa | MFX Parameter 14
0 - 127 |
|
|
|
(0 - 127) |
|
00 2B | 0aaa aaaa | MFX Parameter 15
0 - 127 |
|
|
|
(0 - 127) |
|
00 2C | 0aaa aaaa | MFX Parameter 16
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
00 31 | 0aaa aaaa | MFX Send Level to Reverb
0 - 127 |
|
|
|
(0 - 127) |
|
00 32 | 0aaa aaaa | MFX Send Level to Chorus
0 - 127 |
|
|
|
(0 - 127) |
|
00 33 | 0000 aaaa | Transmit Channel
0 - 16 |
|
|
|
(1 - 16, PART) |
|
00 34 | 0aaa aaaa | Transpose
28 - 100 |
|
|
|
(-36 - +36) |
|
00 35 | 0aaa aaaa | Split Point
0 - 127 |
|
|
|
(C-1 - G9) |
|
00 36 | 0000 aaaa | Upper Part
0 - 15 |
|
|
|
(PART1 - PART16) |
|
00 37 | 0000 aaaa | Lower Part
0 - 15 |
|
|
|
(PART1 - PART16) |
|
00 38 | 000a aaaa | Modulation Assign
0 - 21 |
|
|
|
(MODULATION, ...,AFTERTOUCH) |
|
00 39 | 000a aaaa | Control Pedal Assign
0 - 21 |
|
|
|
|
00 3A | 000a aaaa | C1 Knob Assign
0 - 21 |
|
|
|
|
00 3B | 000a aaaa | C2 Knob Assign
0 - 21 |
|
|
|
|
00 3C | 000a aaaa | C3 Knob Assign
0 - 21 |
|
|
|
|
00 3D | 000a aaaa | C4 Knob Assign
0 - 21 |
|
|
|
|
00 3E | 00aa aaaa | Arpeggio Style
0 - 44 |
|
|
|
(1/4, ..., LIMITLESS) |
|
00 3F | 00aa aaaa | Arpeggio Motif
0 - 37 |
|
|
|
(SINGLE UP, ..., BASS+UP+TOP) |
|
00 40 | 0aaa aaaa | Arpeggio Beat Pattern
0 - 114 |
|
|
|
(1/4, ..., HOUSE2) |
|#
00 41 | 0000 000a | Arpeggio Tempo
20 - 250 |
|
| 0bbb bbbb |
(20 - 250[bpm]) |
|
00 43 | 0000 0aaa | Arpeggio Octave Range
0 - 6 |
|
|
|
(-3 - +3) |
166
|
00 44 | 0aaa aaaa | Arpeggio Key Velocity
0 - 127 |
|
|
|
(0 - 127) |
|
00 45 | 0aaa aaaa | Arpeggio Shuffle Rate
50 - 90 |
|
|
|
(50 -90[%]) |
|
00 46 | 0aaa aaaa | Arpeggio Accent Rate
0 - 100 |
|
|
|
(0 - 100[%]) |
|
00 47 | 0000 000a | Arpeggio Sync Source
0 - 1 |
|
|
|
(INT, MIDI) |
|
00 48 | 0000 000a | Arpeggio Switch
0 - 1 |
|
|
|
(OFF, ON) |
|
00 49 | 0000 000a | Transpose Switch
0 - 1 |
|
|
|
(OFF, ON) |
|
00 4A | 0000 00aa | Keyboard Mode
0 - 2 |
|
|
|
(SINGLE, SPLIT, DUAL) |
|===============================================================================|
| 00 00 00 4B | Total Size
|
++
2-2. Performance Part

++
| Offset
|
|
|
Address |
Description
|
|===============================================================================|
|
00 00 | 0000 00aa | Tone Group
0 - 2 |
|
|
|
(USER, PRESET, GM) |
|#
00 01 | 0000 000a | Tone Number
0 - 255 |
|
| 0aaa aaaa |
(1 - 256) |
|
00 03 | 0aaa aaaa | Level
0 - 127 |
|
|
|
(0 - 127) |
|
00 04 | 0aaa aaaa | Pan
0 - 127 |
|
|
|
(RANDOM, L63 - 63R) |
|
00 05 | 0aaa aaaa | Chorus Send Level
0 - 127 |
|
|
|
(0 - 127) |
|
00 06 | 0aaa aaaa | Reverb Send Level
0 - 127 |
|
|
|
(0 - 127) |
|
00 07 | 0000 000a | MFX Switch
0 - 1 |
|
|
|
(OFF, ON) |
|
00 08 | 000a aaaa | Receive Channel
0 - 16 |
|
|
|
(1 - 16, OFF) |
|
00 09 | 0000 000a | Tone Change Receive Switch
0 - 1 |
|
|
|
(OFF, ON) |
|
00 0A | 0aaa aaaa | Key Shift
40 - 88 |
|
|
|
(-24 - +24) |
|#
00 0B | 0000 000a | Fine Tune
28 - 228 |
|
| 0bbb bbbb |
(-100 - +100[cent]) |
|
00 0D | 0aaa aaaa | Scale Tune C
0 - 127 |
|
|
|
(-64 - +63) |
|
00 0E | 0aaa aaaa | Scale Tune C#
0 - 127 |
|
|
|
(-64 - +63) |
|
00 0F | 0aaa aaaa | Scale Tune D
0 - 127 |
|
|
|
(-64 - +63) |
|
00 10 | 0aaa aaaa | Scale Tune D#
0 - 127 |
|
|
|
(-64 - +63) |
|
00 11 | 0aaa aaaa | Scale Tune E
0 - 127 |
|
|
|
(-64 - +63) |
|
00 12 | 0aaa aaaa | Scale Tune F
0 - 127 |
|
|
|
(-64 - +63) |
|
00 13 | 0aaa aaaa | Scale Tune F#
0 - 127 |
|
|
|
(-64 - +63) |
|
00 14 | 0aaa aaaa | Scale Tune G
0 - 127 |
|
|
|
(-64 - +63) |
|
00 15 | 0aaa aaaa | Scale Tune G#
0 - 127 |
|
|
|
(-64 - +63) |
|
00 16 | 0aaa aaaa | Scale Tune A
0 - 127 |
|
|
|
(-64 - +63) |
|
00 17 | 0aaa aaaa | Scale Tune A#
0 - 127 |
|
|
|
(-64 - +63) |
|
00 18 | 0aaa aaaa | Scale Tune B
0 - 127 |
|
|
|
(-64 - +63) |
|
00 19 | 0000 000a | Solo Switch
0 - 1 |
|
|
|
(OFF, ON) |
|
00 1A | 0000 000a | Portamento Switch
0 - 1 |
|
|
|
(OFF, ON) |
|
00 1B | 0aaa aaaa | Portamento Time
0 - 127 |
|
|
|
(0 - 127) |
|
00 1C | 0aaa aaaa | Velocity Sense Depth
0 - 127 |
|
|
|
(0 - 127) |
|
00 1D | 0aaa aaaa | Velocity Sense Offset
0 - 127 |
|
|
|
(0 - 127) |
|
00 1E | 0aaa aaaa | Pitch Bend Range
64 - 88 |
|
|
|
(0 - 24) |
|
00 1F | 000a aaaa | Voice Reserve
0 - 64 |
|
|
|
(0 - 64) |
|
00 20 | 0000 00aa | Tone Type
0 - 2 |
|
|
|
(TONE, DRUM1, DRUM2) |
|===============================================================================|
| 00 00 00 21 | Total Size
|
++
3. Tone
++
| Offset
|
|
|
Address |
Description
|
|===============================================================================|
|
00 00 | 0000 00aa | Original Group
1 - 2 |
|
|
|
(PRESET, GM) |
|#
00 01 | 0000 000a | Original Number
0 - 255 |
|
| 0aaa aaaa |
(1 - 256) |
|
00 04 | 0aaa aaaa | Tone Name 1
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
00 0A | 0aaa aaaa | Tone Name 7
32 - 125 |
|
|
|
(ASCII) |
|
00 0B | 0aaa aaaa | Tone Name 8
32 - 125 |
|
|
|
(ASCII) |
|
00 0C | 0aaa aaaa | Tone Name 9
32 - 125 |
|
|
|
(ASCII) |
|
00 0D | 0aaa aaaa | Tone Name 10
32 - 125 |
|
|
|
(ASCII) |
|
00 0E | 0aaa aaaa | Tone Name 11
32 - 125 |
|
|
|
(ASCII) |
|
00 0F | 0aaa aaaa | Tone Name 12
32 - 125 |
|
|
|
(ASCII) |
|
00 10 | 00aa aaaa | MFX Type
0 - 42 |
|
|
|
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
MIDI Implementation
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
01 nn | 0aaa aaaa | Pitch
0 - 127 |
|
|
|
(-60 - +67) |
|
02 nn | 0aaa aaaa | Level
0 - 127 |
|
|
|
(0 - 127) |
|
03 nn | 0aaa aaaa | Pan
0 - 127 |
|
|
|
(RANDOM, L63 - 63R) |
|
04 nn | 0aaa aaaa | Reverb Depth
0 - 127 |
|
|
|
(0 - 127) |
|===============================================================================|
| 00 00 05 00 | Total Size
(nn = 00 - 7F : Note Number) |
++
MIDI Implementation
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
00 27 | 0aaa aaaa | LFO Rate
0 - 127 |
|
|
|
(-64 - +63) |
|
00 28 | 0aaa aaaa | LFO Depth
0 - 127 |
|
|
|
(-64 - +63) |
|
00 29 | 0aaa aaaa | LFO Delay
0 - 127 |
|
|
|
(-64 - +63) |
|
00 2A | 0000 000a | LFO Filter Switch
0 - 1 |
|
|
|
(OFF, ON) |
|
00 2B | 0aaa aaaa | Cutoff Frequency
0 - 127 |
|
|
|
(-64 - +63) |
|
00 2C | 0aaa aaaa | Resonance
0 - 127 |
|
|
|
(-64 - +63) |
|
00 2D | 0aaa aaaa | Attack Time
0 - 127 |
|
|
|
(-64 - +63) |
|
00 2E | 0aaa aaaa | Decay Time
0 - 127 |
|
|
|
(-64 - +63) |
|
00 2F | 0aaa aaaa | Release Time
0 - 127 |
|
|
|
(-64 - +63) |
|===============================================================================|
| 00 00 00 30 | Total Size
|
++
4. DrumSet
++
| Offset
|
|
|
Address |
Description
|
|===============================================================================|
|
00 00 | 0000 00aa | Original Group
1 - 2 |
|
|
|
(PRESET, GM) |
|
00 01 | 0000 aaaa | Original Number
0 - 10 |
|
|
|
(1 - 11) |
|
00 02 | 0aaa aaaa | DrumSet Name 1
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
32 - 125 |
|
|
|
(ASCII) |
|
00 0A | 0aaa aaaa | DrumSet Name 9
32 - 125 |
|
|
|
(ASCII) |
|
00 0B | 0aaa aaaa | DrumSet Name 10
32 - 125 |
|
|
|
(ASCII) |
|
00 0C | 0aaa aaaa | DrumSet Name 11
32 - 125 |
|
|
|
(ASCII) |
|
00 0D | 0aaa aaaa | DrumSet Name 12
32 - 125 |
|
|
|
(ASCII) |
|
00 0E | 0aaa aaaa | MFX Type
0 - 42 |
|
|
|
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
|
|
|
(0 - 127) |
|
0 - 127 |
167
MIDI Implementation
Arpeggio Parameter List

Arpeggio Style
++++
|value| parameter
|value| parameter
|value| parameter
|
++++
|
0 | 1/ 4
| 15 | HEAVY SLAP
| 30 | SWING WALTZ
|
|
1 | 1/ 6
| 16 | LIGHT SLAP
| 31 | REGGAE
|
|
2 | 1/ 8
| 17 | WALK BASS
| 32 | PERCUSSION
|
|
3 | 1/12
| 18 | RHYTHM GTR A
| 33 | HARP
|
|
4 | 1/16
| 19 | RHYTHM GTR B
| 34 | SHAMISEN
|
|
5 | 1/32
| 20 | RHYTHM GTR C
| 35 | BOUND BALL
|
|
6 | PORTAMENTO A
| 21 | RHYTHM GTR D
| 36 | RANDOM
|
|
7 | PORTAMENTO B
| 22 | RHYTHM GTR E
| 37 | BOSSA NOVA
|
|
8 | GLISSANDO
| 23 | 3 FINGER GTR
| 38 | SALSA
|
|
9 | SEQUENCE A
| 24 | STRUM GTR UP
| 39 | MAMBO
|
| 10 | SEQUENCE B
| 25 | STRUM GTR DOWN
| 40 | LATIN PERCUSSION |
| 11 | SEQUENCE C
| 26 | STRUM GTR U&D
| 41 | SAMBA
|
| 12 | SEQUENCE D
| 27 | PIANO BACKING
| 42 | TANGO
|
| 13 | ECHO
| 28 | CLAVI CHORD
| 43 | HOUSE
|
| 14 | SYNTH BASS
| 29 | WALTZ
| 44 | LIMITLESS
|
++++
Arpeggio Motif
++++
|value| parameter
|value| parameter
|value| parameter
|
++++
|
0 | SINGLE UP
| 13 | GLISSANDO
| 26 | BASS+UP 7
|
|
1 | SINGLE DOWN
| 14 | CHORD
| 27 | BASS+UP 8
|
|
2 | SINGLE UP&DOWN
| 15 | BASS+CHORD 1
| 28 | BASS+RANDOM 1
|
|
3 | SINGLE RANDOM
| 16 | BASS+CHORD 2
|
|
4 | DUAL UP
| 17 | BASS+CHORD 3
|
|
5 | DUAL DOWN
| 18 | BASS+CHORD 4
| 31 | TOP+UP 1
|
|
6 | DUAL UP&DOWN
| 19 | BASS+CHORD 5
| 32 | TOP+UP 2
|
|
7 | DUAL RANDOM
| 20 | BASS+UP 1
| 33 | TOP+UP 3
|
|
8 | TRIPLE UP
| 21 | BASS+UP 2
| 34 | TOP+UP 4
|
|
9 | TRIPLE DOWN
| 22 | BASS+UP 3
| 35 | TOP+UP 5
|
| 10 | TRIPLE UP&DOWN
| 23 | BASS+UP 4
| 36 | TOP+UP 6
|
| 11 | TRIPLE RANDOM
| 24 | BASS+UP 5
| 37 | BASS+UP+TOP
|
| 12 | NOTE ORDER
| 25 | BASS+UP 6
|
|
|
++++
Arpeggio Beat Pattern

++++
|value| parameter
|value| parameter
|value| parameter
|
++++
|
0 | 1/ 4
| 40 | SEQ-A 5
| 80 | STRUM 4
|
|
1 | 1/ 6
| 41 | SEQ-A 6
| 81 | STRUM 5
|
|
2 | 1/ 8
| 42 | SEQ-A 7
| 82 | STRUM 6
|
|
3 | 1/12
| 43 | SEQ-B 1
| 83 | STRUM 7
|
|
4 | 1/16 1
| 44 | SEQ-B 2
| 84 | STRUM 8
|
|
5 | 1/16 2
| 45 | SEQ-B 3
| 85 | REGGAE 1
|
|
6 | 1/16 3
| 46 | SEQ-B 4
| 86 | REGGAE 2
|
|
7 | 1/32 1
| 47 | SEQ-B 5
| 87 | REFRAIN 1
|
|
8 | 1/32 2
| 48 | SEQ-C 1
| 88 | REFRAIN 2
|
|
9 | 1/32 3
| 49 | SEQ-C 2
| 89 | PERC 1
|
| 10 | PORTA-A 01
| 50 | SEQ-D 1
| 90 | PERC 2
|
| 11 | PORTA-A 02
| 51 | SEQ-D 2
| 91 | PERC 3
|
| 12 | PORTA-A 03
| 52 | SEQ-D 3
| 92 | PERC 4
|
| 13 | PORTA-A 04
| 53 | SEQ-D 4
| 93 | WALKBS
|
| 14 | PORTA-A 05
| 54 | SEQ-D 5
| 94 | HARP
|
| 15 | PORTA-A 06
| 55 | SEQ-D 6
| 95 | BOUND
|
| 16 | PORTA-A 07
| 56 | SEQ-D 7
| 96 | RANDOM
|
| 17 | PORTA-A 08
| 57 | SEQ-D 8
| 97 | BOSSA NOVA
|
| 18 | PORTA-A 09
| 58 | ECHO 1
| 98 | SALSA 1
|
| 19 | PORTA-A 10
| 59 | ECHO 2
| 99 | SALSA 2
|
| 20 | PORTA-A 11
| 60 | ECHO 3
| 100 | SALSA 3
|
| 21 | PORTA-B 01
| 61 | MUTE 01
| 101 | SALSA 4
|
| 22 | PORTA-B 02
| 62 | MUTE 02
| 102 | MAMBO 1
|
| 23 | PORTA-B 03
| 63 | MUTE 03
| 103 | MAMBO 2
|
| 24 | PORTA-B 04
| 64 | MUTE 04
| 104 | CLAVE
|
| 25 | PORTA-B 05
| 65 | MUTE 05
| 105 | REV CLA
|
| 26 | PORTA-B 06
| 66 | MUTE 06
| 106 | GUIRO
|
| 27 | PORTA-B 07
| 67 | MUTE 07
| 107 | AGOGO
|
| 28 | PORTA-B 08
| 68 | MUTE 08
| 108 | SAMBA
|
| 29 | PORTA-B 09
| 69 | MUTE 09
| 109 | TANGO 1
|
| 30 | PORTA-B 10
| 70 | MUTE 10
| 110 | TANGO 2
|
| 31 | PORTA-B 11
| 71 | MUTE 11
| 111 | TANGO 3
|
| 32 | PORTA-B 12
| 72 | MUTE 12
| 112 | TANGO 4
|
| 33 | PORTA-B 13
| 73 | MUTE 13
| 113 | HOUSE 1
|
| 34 | PORTA-B 14
| 74 | MUTE 14
| 114 | HOUSE 2
|
| 35 | PORTA-B 15
| 75 | MUTE 15
|
|
|
| 36 | SEQ-A 1
| 76 | MUTE 16
|
|
|
| 37 | SEQ-A 2
| 77 | STRUM 1
|
|
|
| 38 | SEQ-A 3
| 78 | STRUM 2
|
|
|
| 39 | SEQ-A 4
| 79 | STRUM 3
|
|
|
++++
Modulation Assign / Control Pedal Assign / Knob Assign Parameter List

++++
|value| parameter
|value| parameter
|value| parameter
|
++++
|
0 | MODULATION
|
8 | RESONANCE
| 16 | CHO SEND LEVEL
|
|
1 | PORTAMENTO TIME
|
9 | RELEASE TIME
| 17 | REV SEND LEVEL
|
|
2 | VOLUME
| 10 | ATTACK TIME
| 18 | UP-LO BALANCE
|
|
3 | PAN
| 11 | CUTOFF
| 19 | MFX PARAMETER 1
|
|
4 | EXPRESSION
| 12 | DECAY TIME
| 20 | MFX PARAMETER 2
|
|
5 | PORTAMENTO
| 13 | LFO RATE
| 21 | AFTERTOUCH
|
|
6 | SOSTENUTO
| 14 | LFO DEPTH
|
|
|
|
7 | SOFT
| 15 | LFO DELAY
|
|
|
++++
168
MIDI Implementation
4. Supplementary material
Examples of actual MIDI messages
Decimal and Hexadecimal table
<Example 1> 92 3E 5F
9nH is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and
5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4),
and velocity 95.
++++++++++++
| Dec.| Hex.|| Dec.| Hex.|| Dec.| Hex.|| Dec.| Hex.|
++++++++++++
|
0 | 00H ||
32 | 20H ||
64 | 40H ||
96 | 60H |
|
1 | 01H ||
33 | 21H ||
65 | 41H ||
97 | 61H |
|
2 | 02H ||
34 | 22H ||
66 | 42H ||
98 | 62H |
|
3 | 03H ||
35 | 23H ||
67 | 43H ||
99 | 63H |
|
4 | 04H ||
36 | 24H ||
68 | 44H || 100 | 64H |
|
5 | 05H ||
37 | 25H ||
69 | 45H || 101 | 65H |
|
6 | 06H ||
38 | 26H ||
70 | 46H || 102 | 66H |
|
7 | 07H ||
39 | 27H ||
71 | 47H || 103 | 67H |
|
8 | 08H ||
40 | 28H ||
72 | 48H || 104 | 68H |
|
9 | 09H ||
41 | 29H ||
73 | 49H || 105 | 69H |
|
10 | 0AH ||
42 | 2AH ||
74 | 4AH || 106 | 6AH |
|
11 | 0BH ||
43 | 2BH ||
75 | 4BH || 107 | 6BH |
|
12 | 0CH ||
44 | 2CH ||
76 | 4CH || 108 | 6CH |
|
13 | 0DH ||
45 | 2DH ||
77 | 4DH || 109 | 6DH |
|
14 | 0EH ||
46 | 2EH ||
78 | 4EH || 110 | 6EH |
|
15 | 0FH ||
47 | 2FH ||
79 | 4FH || 111 | 6FH |
|
16 | 10H ||
48 | 30H ||
80 | 50H || 112 | 70H |
|
17 | 11H ||
49 | 31H ||
81 | 51H || 113 | 71H |
|
18 | 12H ||
50 | 32H ||
82 | 52H || 114 | 72H |
|
19 | 13H ||
51 | 33H ||
83 | 53H || 115 | 73H |
|
20 | 14H ||
52 | 34H ||
84 | 54H || 116 | 74H |
|
21 | 15H ||
53 | 35H ||
85 | 55H || 117 | 75H |
|
22 | 16H ||
54 | 36H ||
86 | 56H || 118 | 76H |
|
23 | 17H ||
55 | 37H ||
87 | 57H || 119 | 77H |
|
24 | 18H ||
56 | 38H ||
88 | 58H || 120 | 78H |
|
25 | 19H ||
57 | 39H ||
89 | 59H || 121 | 79H |
|
26 | 1AH ||
58 | 3AH ||
90 | 5AH || 122 | 7AH |
|
27 | 1BH ||
59 | 3BH ||
91 | 5BH || 123 | 7BH |
|
28 | 1CH ||
60 | 3CH ||
92 | 5CH || 124 | 7CH |
|
29 | 1DH ||
61 | 3DH ||
93 | 5DH || 125 | 7DH |
|
30 | 1EH ||
62 | 3EH ||
94 | 5EH || 126 | 7EH |
|
31 | 1FH ||
63 | 3FH ||
95 | 5FH || 127 | 7FH |
++++++++++++
*
*
Decimal values such as MIDI channel, bank select, and program change are listed as
one(1) greater than the values given in the above table.
A 7-bit byte can express data in the range of 128 steps. For data where greater precision
is required, we must use two or more bytes. For example, two hexadecimal numbers aa
bbH expressing two 7-bit bytes would indicate a value of aa x 128 + bb.
In the case of values which have a +- sign, 00H = -64, 40H = +- 0, and 7FH = +63, so that
the decimal expression would be 64 less than the value given in the above chart. In the
case of two types, 00 00H = -8192, 40 00H = +- 0, and 7F 7FH = +8191. For example if aa
bbH were expressed as decimal, this would be aa bbH - 40 00H = aa x 128 + bb - 64 x 128.
Data marked nibbled is expressed in hexadecimal in 4-bit units. A value expressed as a
2-byte nibble 0a 0bH has the value of a x 16 + b.
<Example 1> What is the decimal expression of 5AH?

From the preceding table, 5AH = 90
<Example 2> What is the decimal expression of the value 12 34H given as hexadecimal for
each 7 bits?
From the preceding table, since 12H = 18 and 34H = 52
18 x 128 + 52 = 2356
<Example 3> What is the decimal expression of the nibbled value 0A 03 09 0D?
From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13
((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885
<Example 4> What is the nibbled expression of the decimal value 1258?
16 ) 1258
16 )
78 ...10
16 )
4 ...14
0 ... 4
<Example 2> CE 49
CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14 and
49H = 73, this is a Program Change message with MIDI CH = 15, program number 74 (Flute
in GS).
<Example 3> EA 00 28
EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte
(00H=0) is the LSB and the 3rd byte (28H=40) is the MSB, but Pitch Bend Value is a signed
number in which 40 00H ( = 64 x 128 + 0 = 8192) is 0, so this Pitch Bend Value is
28 00H - 40 00H = 40 x 128 + 0 - (64 x 128 + 0) = 5120 - 8192 = -3072
If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch to
change -200 cents, so in this case -200 x (-3072) / (-8192) = -75 cents of Pitch Bend is being
applied to MIDI channel 11.
<Example 4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F
BnH is the Control Change status, and n is the MIDI channel number. For Control Changes,
the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or
more messages consecutive messages have the same status, MIDI has a provision called
running status which allows the status byte of the second and following messages to be
omitted. Thus, the above messages have the following meaning.
B3 64 00
(B3) 65 00
(B3) 06 0C
(B3) 26 00
(B3) 64 7F
(B3) 65 7F
MIDI ch.4, lower byte of RPN parameter number:

(MIDI ch.4) upper byte of RPN parameter number:
(MIDI ch.4) upper byte of parameter value:
(MIDI ch.4) lower byte of parameter value:
(MIDI ch.4) lower byte of RPN parameter number:
(MIDI ch.4) upper byte of RPN parameter number:
00H
00H
0CH
00H
7FH
7FH
In other words, the above messages specify a value of 0C 00H for RPN parameter number
00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH.
RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates
semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to +- 12
semitones (1 octave). (On GS sound sources the LSB of Pitch Bend Sensitivity is ignored, but
the LSB should be transmitted anyway (with a value of 0) so that operation will be correct
on any device.)
Once the parameter number has been specified for RPN or NRPN, all Data Entry messages
transmitted on that same channel will be valid, so after the desired value has been
transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents.
This is the reason for the (B3) 64 7F (B3) 65 7F at the end.
It is not desirable for performance data (such as Standard MIDI File data) to contain many
events with running status as given in <Example 4>. This is because if playback is halted
during the song and then rewound or fast-forwarded, the sequencer may not be able to
transmit the correct status, and the sound source will then misinterpret the data. Take care
to give each event its own status.
It is also necessary that the RPN or NRPN parameter number setting and the value setting
be done in the proper order. On some sequencers, events occurring in the same (or
consecutive) clock may be transmitted in an order different than the order in which they
were received. For this reason it is a good idea to slightly skew the time of each event (about
1 tick for TPQN = 96, and about 5 ticks for TPQN = 480).
*
TPQN: Ticks Per Quarter Note
Since from the preceding table, 0=00H, 4=04H, 14=0EH, 10=0AH, the answer is 00 04 0E
0AH.
169
MIDI Implementation
In MIDI documentation, data values and addresses/sizes of exclusive messages etc. are
expressed as hexadecimal values for each 7 bits.
The following table shows how these correspond to decimal numbers.
MIDI Implementation
Example of an Exclusive message and calculating a

Checksum
As the data size of Performance Part is 00 00 00 21H, summation of the size and the start
address of Part 16 at Temporary Performance will be;
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.
01 00 1F 00H
+) 00 00 00 21H
01 00 1F 21H
And the size that have to be got should be;
How to calculate the checksum

(hexadecimal numbers are indicated by H)
The checksum is a value derived by adding the address, size and checksum itself and
inverting the lower 7 bits.
Here's an example of how the checksum is calculated. We will assume that in the exclusive
message we are transmitting, the address is aa bb ccH and the data or size is dd ee ffH.
<Example 1> Setting REVERB TYPE of PERFORMANCE COMMON to ROOM 3 (DT1)

According to the Parameter Address Map (p. 165), the start address of Temporary
Performance is 01 00 00 00H, the offset address of PERFORMANCE COMMON is 00 00H,
and the address of REVERB TYPE is 00 14H. Therefore the address of CHORUS TYPE of
PERFORMANCE COMMON is;
01 00 00
00
00
01 00 00
00H
00H
14H
14H
41
(2)
41
(2)
10
(3)
00 3C
(4)
(1) Exclusive Status

(4) Model ID (RS-5/9)
11
(5)
01 00 00 00
address
(2) ID (Roland)
(5) Command ID (RQ1)
00 00 1F 21
data
??
checksum
F7
(6)
(3) Device ID (17)

(6) End of Exclusive
Then calculate the checksum.

01H + 00H + 00H + 00H + 00H + 00H + 1FH + 21H = 1 + 0 + 0 + 0 + 0 + 0 + 31 + 33 = 65 (sum)
65 (sum) / 128 = 0 (quotient) ... 65 (remainder)
checksum = 128 - 65 (remainder) = 63 = 3FH
This means that F0 41 10 00 3C 11 01 00 00 00 00 00 1F 21 3F F7 is the message should be
sent.
ROOM 3 has the value of 02H.

So the system exclusive message should be sent is;
F0
(1)
Therefore the system exclusive message should be sent is;

F0
(1)
aa + bb + cc + dd + ee + ff = sum
sum / 128 = quotient ... remainder
128 - remainder = checksum
+)
01 00 1F 21H
-) 01 00 00 00H
00 00 1F 21H
10
(3)
00 3C
(4)

12
(5)
01 00 00 14
address
(2) ID (Roland)
(5) Command ID (DT1)
<Example 4> When Producing the Combined Temporary Performance Data and All
Temporary Tone and Drum Set Data (RQ1)
02
data
??
checksum
F7
(6)
(3) Device ID (17)

The data produced is the same as that when transmitting Bulk Dump:Temporary in
Utility mode.
According to the Parameter Address Map (p. 165), the start address of the
above all parameters is assigned as following:

01 00 00 00H
02 00 00 00H
02 01 00 00H
:
02 0F 00 00H
03 00 00 00H
03 01 00 00H
01H + 00H + 00H + 14H + 02H = 1 + 0 + 0 + 20 + 2 = 23 (sum)

checksum = 128 - 23 (remainder) = 105 = 69H
This means that F0 41 10 00 3C 12 01 00 00 14 02 69 F7 is the message should be sent.
<Example 2> Getting the data (RQ1) of Performance Part 3 in USER:03
According to the Parameter Address Map (p. 165), the start address of USER:03 is 04 02 00
00H, and the offset address of Performance Part 3 is 12 00H.
Therefore the start address of Performance Part 3 in USER:03 is;
Temporary Performance Common

Temporary Tone (Part 1)
:
Temporary DrumSet 1
Temporary DrumSet 2
As the data size of Drum Set is 00 00 05 00H, summation of the size and the start address of
Temporary DrumSet 2 will be;
03 01 00 00H
+) 00 00 05 00H
03 01 05 00H
04 02 00 00H
+)
12 00H
04 02 12 00H
And the size that have to be got should be;

As the size of Performance Part is 00 00 00 21H, the system exclusive message should be sent is;
F0
(1)
41
(2)
10
(3)
00 3C
(4)
11
(5)
04 02 12 00
address
00 00 00 21
data
??
checksum
F7
(6)
03 01 05 00H
-) 01 00 00 00H
02 01 05 00H
Therefore the system exclusive message should be sent is;

(2) ID (Roland)
(3) Device ID (17)

F0
(1)
41
(2)
10
(3)
00 3C
(4)
11
(5)
01 00 00 00
address
02 01 05 00
data
??
checksum
F7
(6)

04H + 02H + 12H + 00H + 00H + 00H + 00H + 21H = 4 + 2 + 18 + 0 + 0 + 0 + 0 + 33 = 57 (sum)
This means that F0 41 10 00 3C 11 04 02 12 00 00 00 00 21 47 F7 is the message should be sent.
<Example 3> Getting Temporary Performance data (RQ1)
According to the Parameter Address Map (p. 165), the start address of Temporary
Performance is assigned as following:
01 00 00 00H
01 00 10 00H
:
01 00 1F 00H
170
Temporary Performance Common

Temporary Performance Part 1
Temporary Performance Part 16

(2) ID (Roland)
(3) Device ID (17)


01H + 00H + 00H + 00H + 02H + 01H + 05H + 00H = 1 + 0 + 0 + 0 + 2 + 1 + 5 + 0 = 9 (sum)
This means that F0 41 10 00 3C 11 01 00 00 00 02 01 05 00 77 F7 is the message should be sent.
MIDI Implementation
The Scale Tune Feature

The scale Tune feature allows you to finely adjust the individual pitch of the notes from C
through B. Though the settings are made while working with one octave, the fine
adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can
obtain a complete variety of tuning methods other than equal temperament. As examples,
three possible types of scale setting are explained below.
Equal Temperament
This method of tuning divides the octave into 12 equal parts. It is currently the most widely
used form of tuning, especially in occidental music. On RS-5/9, the default settings for the
Scale Tune feature produce equal temperament.
Just Temperament (Tonic C)

The three main chords resound much more beautifully than with equal temperament, but
this benefit can only be obtained in one key. If transposed, the chords tend to become
ambiguous. The example given involves settings for a key in which C is the keynote.
Arabian Scale
By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for
ethnic music. For example, the settings introduced below will set the unit to use the Arabian
Scale.
Just Temperament (Tonic C)

0
-8
+4
+16
-14
-2
-10
+2
+14
-16
+14
-12
Arabian Scale
-6
+45
-2
-12
-51
-8
+43
-4
+47
0
-10
-49
MIDI Implementation
Example Settings
Note name
Equal Temperament
C
0
C#
0
D
0
D#
0
E
0
F
0
F#
0
G
0
G#
0
A
0
A#
0
B
0
The values in the table are given in cents. Convert these values to hexadecimal, and transmit
them as Exclusive data.
For example, to set the tune (C-B) of the Part 1 Arabian Scale, send the following data:
F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7
ASCII Code Table

Tone Name and Performance Name, etc., of MIDI data are described the ASCII
code in the table below.
++++++++++++
| D
| H
| Char || D
| H
| Char || D
| H
| Char |
++++++++++++
|
32 | 20H | SP ||
64 | 40H |
@ ||
96 | 60H |
` |
|
33 | 21H |
! ||
65 | 41H |
A ||
97 | 61H |
a |
|
34 | 22H |
" ||
66 | 42H |
B ||
98 | 62H |
b |
|
35 | 23H |
# ||
67 | 43H |
C ||
99 | 63H |
c |
|
36 | 24H |
$ ||
68 | 44H |
D || 100 | 64H |
d |
|
37 | 25H |
% ||
69 | 45H |
E || 101 | 65H |
e |
|
38 | 26H |
& ||
70 | 46H |
F || 102 | 66H |
f |
|
39 | 27H |
` ||
71 | 47H |
G || 103 | 67H |
g |
|
40 | 28H |
( ||
72 | 48H |
H || 104 | 68H |
h |
|
41 | 29H |
) ||
73 | 49H |
I || 105 | 69H |
i |
|
42 | 2AH |
* ||
74 | 4AH |
J || 106 | 6AH |
j |
|
43 | 2BH |
+ ||
75 | 4BH |
K || 107 | 6BH |
k |
|
44 | 2CH |
, ||
76 | 4CH |
L || 108 | 6CH |
l |
|
45 | 2DH |
- ||
77 | 4DH |
M || 109 | 6DH |
m |
|
46 | 2EH |
. ||
78 | 4EH |
N || 110 | 6EH |
n |
|
47 | 2FH |
/ ||
79 | 4FH |
O || 111 | 6FH |
o |
|
48 | 30H |
0 ||
80 | 50H |
P || 112 | 70H |
p |
|
49 | 31H |
1 ||
81 | 51H |
Q || 113 | 71H |
q |
|
50 | 32H |
2 ||
82 | 52H |
R || 114 | 72H |
r |
|
51 | 33H |
3 ||
83 | 53H |
S || 115 | 73H |
s |
|
52 | 34H |
4 ||
84 | 54H |
T || 116 | 74H |
t |
|
53 | 35H |
5 ||
85 | 55H |
U || 117 | 75H |
u |
|
54 | 36H |
6 ||
86 | 56H |
V || 118 | 76H |
v |
|
55 | 37H |
7 ||
87 | 57H |
W || 119 | 77H |
w |
|
56 | 38H |
8 ||
88 | 58H |
X || 120 | 78H |
x |
|
57 | 39H |
9 ||
89 | 59H |
Y || 121 | 79H |
y |
|
58 | 3AH |
: ||
90 | 5AH |
Z || 122 | 7AH |
z |
|
59 | 3BH |
; ||
91 | 5BH |
[ || 123 | 7BH |
{ |
|
60 | 3CH |
< ||
92 | 5CH |
\ || 124 | 7CH |
| |
|
61 | 3DH |
= ||
93 | 5DH |
] || 125 | 7DH |
} |
|
62 | 3EH |
> ||
94 | 5EH |
^ ||+++
|
63 | 3FH |
? ||
95 | 5FH |
_ |
++++++++
D: decimal
H: hexadecimal
SP is space.
171
MIDI Implementation
64 Voice Synthesizer
Date : Oct. 12, 2000
MIDI Implementation Chart
Model RS-5/9
Transmitted
Function...
Recognized
Basic
Channel
Default
Changed
116
116
116
116
Mode
Default
Messages
Altered
Mode 3
X
Mode 3
Mode 3, 4 (M = 1)
Remarks
*2
**************
Note
Number : True Voice
0127
**************
0127
0127
Velocity
Note On
Note Off
O
O
O
O
After
Touch
Key's
Channel's
X
O
O
O
*1
*1
*1
Pitch Bend
0, 32
1
5
6, 38
7
10
11
12
13
64
65
66
67
69
71
72
73
74
75
76
77
78
84
91
93
98, 99
100, 101
Control
Change
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
X
O
*1
*3
O
O
O
O
O
O
O
O
O
O
O
O
O
X
O
O
O
O
O
O
O
O
O
O (Reverb)
O (Chorus)
O
O
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
Bank select
Modulation
Portamento time
Data entry
Volume
Panpot
Expression
Effect control 1
Effect control 2
Hold 1
Portamento
Sostenuto
Soft
Hold 2
Resonance
Release time
Attack time
Cutoff
Decay time
Vibrato rate
Vibrato depth
Vibrato delay
Portamento control
General purpose effects 1
General purpose effects 3
NRPN LSB, MSB
RPN LSB, MSB
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
O
0127
*1
**************
System Exclusive
*1
: Song Position
System
: Song Select
Common
: Tune Request
X
X
X
X
X
X
: Clock
System
Real Time : Commands
X
X
O
O
Program
Change
O
: True Number
O
: All Sound Off
: Reset All Controllers O
Aux
X
: Local On/Off
Messages : All Notes Off
X
O
: Active Sensing
X
: System Reset
Notes
Mode 1 : OMNI ON, POLY

Mode 3 : OMNI OFF, POLY
172
Version : 1.00
Program No. 1128
*1
*1
O (120, 126, 127)

O
X
O (123127)
O
X
* 1 O X is selectable.
* 2 Recognized as M=1 even if M1.
* 3 Transmit data only when using the Setup Send command.
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
Specifications
RS-5/9: 64-voice synthesizer (conforms to General MIDI 2 System)
Keyboard
Current Draw
RS-5: 61 keys (with velocity)
600 mA
RS-9: 88 keys (with velocity)
Parts
RS-5: 1033 (W) x 294 (D) x 103 (H) mm

40-11/16 (W) x 11-5/8 (D) x 4-1/16 (H) inches
16
Maximum Polyphony
64 voices
Wave Memory
32 M bytes (16-bit linear equivalent)
Preset Memory
Tones:
512 (RS-5/9 Original: 256, General MIDI 2: 256)
Performances: 128
Drum Sets:
20 (RS-5/9 Original: 11, General MIDI 2: 9)
User Memory
Tones:
128
Performances: 128
Drum Sets:
Dimensions
RS-9: 1395 (W) x 294 (D) x 108 (H) mm

54-15/16 (W) x 11-5/8 (D) x 4-1/4 (H) inches
Weight
RS-5: 6.0 kg / 13 lbs 4 oz (excluding AC adaptor)
RS-9: 10.8kg / 23 lbs 13 oz (excluding AC adaptor)
Accessories
Owners Manual
AC Adaptor (ACI/ACB Series)
Music Stand / 2 Screws for the music stand (RS-9)
Options
Pedal Switch:
DP-2/6
Foot Switch:
BOSS FS-5U
Expression Pedal: EV-5
Effects
Multi-Effects: 42 types
Reverb:
8 types
Chorus:
8 types
* In the interest of product improvement, the specifications and/

or appearance of this unit are subject to change without prior
notice.
Arpeggiator
45 styles
Controllers
Pitch Bend/Modulation Lever
Control Knobs:
6
Specifications
Display
20 characters, 2 lines (Backlit LCD)
7 segments, 3 characters (LED)
Connectors
Output Jacks (L (MONO), R)
Headphones Jack
MIDI Connectors (IN, OUT, THRU)
Hold Pedal Jack
Control Pedal Jack
Power Supply
DC 9V (AC Adaptor)
173
Index
Numerics
2VOICE PITCH SHIFTER (Multi-FX) ........................ 96
Effect
On/Off ................................................................ 44, 79
Signal Path ................................................................ 80
ENHANCER (Multi-FX) ............................................... 85
ENHANCER->CHORUS (Multi-FX) ........................ 102
ENHANCER->DELAY (Multi-FX) ........................... 103
ENHANCER->FLANGER (Multi-FX) ...................... 102
ENTER Button ............................................................... 11
ENVELOPE ............................................................ 54, 110
Equal Temperament ...................................................... 70
Exclusive messages ..................................................... 119
[EXIT] .............................................................................. 64
A
ACCENT knob ............................................................... 78
Accent Rate (Arpeggio) ................................................ 77
Aftertouch .................................................................... 119
Arabic Scale .................................................................... 70
[ARPEGGIO ON/OFF] .......................................... 42, 75
[ARPEGGIO/CONTROL] ........................................... 74
ATTACK knob ............................................................... 54
AUTO WAH (Multi-FX) ............................................... 85
B
Bank Select Transmit Switch ..................................... 121
Beat Pattern (Arpeggio) ................................................ 76
Bulk Dump ................................................................... 115
C
Category ......................................................................... 23
Channel
Receive .................................................................... 122
Transmit .................................................................. 120
Channel messages ....................................................... 119
Chorus
On/Off ................................................................ 44, 79
Settings .................................................................... 107
CHORUS/DELAY (Multi-FX) ................................... 105
CHORUS/FLANGER (Multi-FX) ............................. 105
CHORUS->DELAY (Multi-FX) ................................. 103
CHORUS->FLANGER (Multi-FX) ............................ 104
COMPRESSOR (Multi-FX) ........................................... 87
CONTROL 1CONTROL 4 .......................................... 74
Control Change ........................................................... 119
Control Pedal Assign .................................................... 73
CONTROL PEDAL Polarity ........................................ 73
CUTOFF knob ................................................................ 55
D
Demo songs .................................................................... 19
DEPTH knob .................................................................. 52
Detune ............................................................................. 69
Device ID Number ...................................................... 115
DISTORTION (Multi-FX) ............................................. 83
DISTORTION->CHORUS (Multi-FX) ...................... 101
DISTORTION->DELAY (Multi-FX) ......................... 101
DISTORTION->FLANGER (Multi-FX) .................... 101
Drum Set
Assigning a name .................................................. 113
Creating ................................................................... 112
Saving ...................................................................... 113
Selecting (Single) ...................................................... 29
Selecting (Split and Dual) ....................................... 37
What is a drum set? ................................................. 62
Dual ........................................................................... 34, 36
174
F
Factory Reset .......................................................... 21, 117
FAVORITE PERFORM BANK .................................... 58
FBK PITCH SHIFTER (Multi-FX) ................................ 97
FILTER .................................................................... 55, 110
Fine Tune ........................................................................ 69
FLANGER/DELAY (Multi-FX) ................................. 105
FLANGER->DELAY (Multi-FX) ............................... 104
G
GATED REVERB (Multi-FX) ....................................... 99
GM/GM2 Setup Message .......................................... 129
GM/GM2 SYSTEM ON .............................................. 117
GM/GM2 System On Receive Switch ...................... 128
H
HEXA-CHORUS (Multi-FX) ........................................ 88
HOLD PEDAL Polarity ................................................ 73
I
Initialize ........................................................................ 117
K
Key Mode ....................................................................... 34
Key Shift .......................................................................... 69
Key Velocity (Arpeggio) ............................................... 77
Knob ................................................................................ 74
Knob Assign ................................................................... 74
L
LCD Contrast ................................................................. 16
Level (Drum Set) ......................................................... 112
Level (Part) ..................................................................... 66
LFO .......................................................................... 52, 110
[LFO ON/OFF] .............................................................. 52
LIMITER (Multi-FX) ...................................................... 87
Local Control ................................................................ 124
LOFI (Multi-FX) ........................................................... 106
Lower Part ................................................................ 34, 40
Index
[MANUAL] .................................................................... 74
Master Key Shift .......................................................... 126
Master Tuning ............................................................... 18
Maximum Polyphony ................................................... 64
Memory .......................................................................... 63
MIDI .............................................................................. 118
MOD ................................................................................ 71
Modulation Assign ....................................................... 71
MODULATION DELAY (Multi-FX) .......................... 93
Modulation Lever .................................................... 51, 71
Motif (Arpeggio) ........................................................... 76
Multi-Effects
On/Off ................................................................ 44, 79
On/Off for Individual Parts ................................ 107
Settings ...................................................................... 80
Multi-Effects Type ......................................................... 81
Multi-timbral sound modules ................................... 118
QUADRUPLE TAP DELAY (Multi-FX) ..................... 95
N
Name ............................................................................. 113
Note Off ........................................................................ 119
Note On ........................................................................ 119
Numeric Keys ................................................................ 64
O
OCTAVE knob ............................................................... 78
Octave Range (Arpeggio) ............................................. 77
OVERDRIVE (Multi-FX) .............................................. 83
OVERDRIVE->CHORUS (Multi-FX) ......................... 99
OVERDRIVE->DELAY (Multi-FX) ........................... 100
OVERDRIVE->FLANGER (Multi-FX) ..................... 100
P
Pan (Drum Set) ............................................................ 112
Pan (Part) ........................................................................ 66
Panic function ................................................................ 65
Part ............................................................................ 28, 39
PEDAL ............................................................................ 73
Pedal Polarity ................................................................. 73
[PERFORM/TONE] .............................. 23, 26, 2930, 57
Performance
Assigning a name .................................................. 113
Easily Selecting ........................................................ 58
Saving ...................................................................... 113
Selecting .................................................................... 56
What is a performance? .......................................... 62
PHASER (Multi-FX) ...................................................... 84
[PHRASE PREVIEW] .................................................... 33
[PIANO] .......................................................................... 60
Pitch (Drum Set) .......................................................... 112
Pitch Bend Change ...................................................... 119
Pitch Bend Lever ........................................................... 50
Portamento ..................................................................... 67
Power .............................................................................. 15
Preset ................................................................... 26, 30, 56
Program Change ......................................................... 119
Pure Temperament ....................................................... 70
RATE knob ..................................................................... 52

Receive Channel .......................................................... 122
RELEASE knob .............................................................. 54
REMOLO CHORUS (Multi-FX) .................................. 88
RESONANCE knob ...................................................... 55
Reverb
On/Off ................................................................ 44, 79
Settings .................................................................... 108
REVERB (Multi-FX) ....................................................... 98
Reverb Depth (Drum Set) ........................................... 112
ROTARY (Multi-FX) ..................................................... 86
S
Scale Tune ....................................................................... 70
[SHIFT] ...................................................................... 6465
Shortcuts ......................................................................... 65
SHUFFLE knob .............................................................. 78
Shuffle Rate (Arpeggio) ................................................ 77
Single ............................................................................... 34
SLICER (Multi-FX) ...................................................... 106
Solo Switch ..................................................................... 67
Source (Multi-Effects) ................................................... 80
SPACE-D (Multi-FX) ..................................................... 89
SPECTRUM (Multi-FX) ................................................ 84
Split .................................................................................. 34
Split Point ....................................................................... 40
STEP FLANGER (Multi-FX) ........................................ 91
STEREO CHORUS (Multi-FX) ..................................... 89
STEREO DELAY (Multi-FX) ........................................ 92
STEREO EQ (Multi-FX) ................................................ 82
STEREO FLANGER (Multi-FX) ................................... 90
Style (Arpeggio) ............................................................. 75
Switch (Multi-Effects, for Individual Parts) ............ 107
Sync Source (Arpeggio) ................................................ 77
System Exclusive Receive Switch ............................. 116
System messages ......................................................... 119
T
Tempo (Arpeggio) ......................................................... 76
TEMPO knob .................................................................. 78
THROUGH (Multi-FX) ................................................. 82
TIME CONTROL DELAY (Multi-FX) ........................ 96
Tone
Assigning a name .................................................. 113
Category .................................................................... 25
Creating ................................................................... 110
Saving ...................................................................... 113
Selecting (Single) ...................................................... 23
Selecting (Split and Dual) ....................................... 37
What is a tone? ......................................................... 62
[TONE CATEGORY] .............................................. 23, 26
Tone Change Receive Switch ..................................... 122
Tone Search function .................................................... 23
Tone Type ....................................................................... 31
175
Index
Index
Transmit Channel ........................................................ 120

Transpose
All the Parts .............................................................. 48
Specified Part ........................................................... 69
TRIPLE TAP DELAY (Multi-FX) ................................ 94
Tuning ............................................................................. 18
Tx Setup ........................................................................ 129
Type (Multi-Effects) ...................................................... 81
U
Upper Part ................................................................ 34, 40
User ..................................................................... 26, 30, 56
[USER/PRESET] ...................................................... 30, 39
V
VALUE [-]/[+] ............................................................... 64
Velocity Sense ................................................................ 68
Vibrato Effect ......................................................... 52, 110
Voice Reserve ................................................................. 64
Volume ............................................................................ 16
W
Wah Effect .............................................................. 52, 110
176
Index
Index
Memo
177
Information
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as
shown below.
AFRICA
EGYPT
Al Fanny Trading Office
9, EBN Hagar A1 Askalany Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
TEL: 20-2-417-1828
REUNION
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
REUNION ISLAND
TEL: (0262) 218-429
PANAMA
ITALY
ISRAEL
SUPRO MUNDIAL, S.A.
Roland Italy S. p. A.
150 Sims Drive,

SINGAPORE 387381
TEL: 846-3676
Boulevard Andrews, Albrook,

Panama City, REP. DE PANAMA
TEL: 315-0101
Viale delle Industrie 8,

20020 Arese, Milano, ITALY
TEL: (02) 937-78300
Halilit P. Greenspoon &

Sons Ltd.
CRISTOFORI MUSIC PTE

LTD
PARAGUAY
NORWAY
SINGAPORE
Swee Lee Company
Blk 3014, Bedok Industrial Park E,

#02-2148, SINGAPORE 489980
TEL: 243 9555
TAIWAN
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (021) 492-124
Roland Scandinavia Avd.

Kontor Norge
245 Prince Mohammad St.,

Amman 1118, JORDAN
TEL: (06) 464-1200
Easa Husain Al-Yousifi
PERU
POLAND
Portinari 199 (ESQ. HALS),

San Borja, Lima 41,
REP. OF PERU
TEL: (01) 4758226
P. P. H. Brzostowicz
SOUTH AFRICA
Room 5, 9fl. No. 112 Chung Shan

N.Road Sec.2, Taipei, TAIWAN,
R.O.C.
TEL: (02) 2561 3339
VIDEO Broadcast S.A.
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
That Other Music Shop

(PTY) Ltd.
THAILAND
URUGUAY
PORTUGAL
P.O.Box 32918, Braamfontein 2017

Johannesbourg, SOUTH AFRICA
TEL: (011) 403 4105
Paul Bothner (PTY) Ltd.

17 Werdmuller Centre,
Main Road, Claremont 7708
SOUTH AFRICA
P.O.BOX 23032, Claremont 7735,
SOUTH AFRICA
TEL: (021) 674 4030
ASIA
CHINA
Beijing Xinghai Musical
Instruments Co., Ltd.
6 Huangmuchang Chao Yang
District, Beijing, CHINA
TEL: (010) 6774 7491
Shanghai Xingtong Acoustics

Equipment CO.,Ltd.
5F. No.1500 Pingliang Road
New East Club Plaza, Shanghai,
CHINA
TEL: (021) 5580-0800
HONG KONG
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
TEL: 2415 0911
INDIA
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra Mahalaxmi
Flats Compound Off. Dr. Edwin
Moses Road, Mumbai-400011,
INDIA
TEL: (022) 498 3079
INDONESIA
Theera Music Co. , Ltd.

330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
VIETNAM
ROMANIA
Av. Francisco de Miranda,

Centro Parque de Cristal, Nivel
C2 Local 20 Caracas
VENEZUELA
TEL: (212) 285-8586
Piata Libertatii 1,
RO-4200 Gheorghehi
TEL: (095) 169-5043
AUSTRALIA
AUSTRIA
Roland Corporation
Australia Pty., Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
TEL: (02) 9982 8266
NEW ZEALAND
Roland Corporation Ltd.
32 Shaddock Street, Mount Eden,
Auckland, NEW ZEALAND
TEL: (09) 3098 715
CENTRAL/LATIN
AMERICA
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
Rua San Jose, 780 Sala B

Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
COSTA RICA
JUAN Bansbach
Instrumentos Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
Comercial Fancy
BENTLEY MUSIC SDN BHD

140 & 142, Jalan Bukit Bintang
55100 Kuala Lumpur,MALAYSIA
TEL: (03) 2144-3333
PHILIPPINES
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (02) 899 9801
BELGIUM/HOLLAND/
LUXEMBOURG
Roland Benelux N. V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
DENMARK
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
TEL: (039)16 6200
FRANCE
4, Rue Paul Henri SPAAK,
Parc de l'Esplanade, F 77 462 St.
Thibault, Lagny Cedex FRANCE
TEL: 01 600 73 500
Roland Brasil Ltda
CHILE
Siemensstrasse 4, P.O. Box 74,

A-6063 RUM, AUSTRIA
TEL: (0512) 26 44 260
Roland France SA
BRAZIL
Cosmos Corporation
Roland Austria GES.M.B.H.
S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
EL SALVADOR
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo ,
Edificio No.4010 San Salvador,
EL SALVADOR
TEL: 262-0788
MEXICO
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico D.F.
MEXICO
TEL: 668-0480
FINLAND
Roland Scandinavia As,
Filial Finland
Lauttasaarentie 54 B
Fin-00201 Helsinki, FINLAND
TEL: (9) 682 4020
GERMANY
Roland Elektronische
Musikinstrumente HmbH.
FBS LINES
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
SPAIN
Roland Electronics
de Espaa, S. A.
Calle Bolivia 239, 08020
Barcelona, SPAIN
TEL: (93) 308 1000
SWEDEN
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (08) 702 0020
SWITZERLAND
Roland (Switzerland) AG
Musitronic AG
Gerberstrasse 5, Postfach,
CH-4410 Liestal, SWITZERLAND
TEL: (061) 927-8383
UKRAINE
TIC-TAC
Mira Str. 19/108
P.O. Box 180
295400 Munkachevo, UKRAINE
TEL: (03131) 414-40
UNITED KINGDOM
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
UNITED KINGDOM
TEL: (01792) 700139
Oststrasse 96, 22844 Norderstedt,

GERMANY
TEL: (040) 52 60090
MIDDLE EAST
GREECE
BAHRAIN
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: (061) 43-5400
HUNGARY
Intermusica Ltd.
Warehouse Area DEPO Pf.83
H-2046 Torokbalint, HUNGARY
TEL: (23) 511011
IRELAND
Roland Ireland
Audio House, Belmont Court,
Donnybrook, Dublin 4.
Republic of IRELAND
TEL: (01) 2603501
LEBANON
A. Chahine & Fils
Gerge Zeidan St., Chahine Bldg.,
Achrafieh, P.O.Box: 16-5857
Beirut, LEBANON
TEL: (01) 20-1441
Al Emadi Co. (Badie Studio

& Stores)
Musicland Digital C.A.
EUROPE
Abdullah Salem Street,

Safat, KUWAIT
TEL: 243-6399
QATAR
138 Tran Quang Khai St.,

District 1
Ho Chi Minh City
VIETNAM
TEL: (08) 844-4068
AUSTRALIA/
NEW ZEALAND
KUWAIT
Cais Das Pedras, 8/9-1 Dto

4050-465 PORTO
PORTUGAL
TEL: (022) 608 00 60
VENEZUELA
J1. Cideng Timur No. 15J-150

Jakarta Pusat
INDONESIA
TEL: (021) 6324170
MALAYSIA
Francisco Acuna de Figueroa 1771

C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
Tecnologias Musica e Audio,

Roland Portugal, S.A.
Saigon Music
PT Citra IntiRama
KOREA
Todo Musica S.A.
JORDAN
AMMAN Trading Agency
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
TEL: 273 0074
ROLAND TAIWAN
ENTERPRISE CO., LTD.
11 Melle St., Braamfontein,

Johannesbourg, SOUTH AFRICA
8 Retzif Ha'aliya Hashnya St.

Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
TEL: 211 005
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
TEL: (02) 66-9426
P.O. Box 62,

Doha, QATAR
TEL: 4423-554
SAUDI ARABIA
aDawliah Universal
Electronics APL
Corniche Road, Aldossary Bldg.,
1st Floor, Alkhobar,
SAUDI ARABIA
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
SYRIA
Technical Light & Sound
Center
Bldg. No. 47,
Khaled Ebn Al Walid St.
Damascus, SYRIA
TEL: (011) 221-1230
TURKEY
Barkat muzik aletleri ithalat
ve ihracat Ltd Sti
Siraselviler Caddesi Siraselviler
Pasaji No:74/20
Taksim - Istanbul, TURKEY
TEL: (0212) 2499324
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor, Dubai, U.A.E.
TEL: (04) 3360715
NORTH AMERICA
CANADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way Richmond
B. C., V6V 2M4 CANADA
TEL: (0604) 270 6626
Roland Canada Music Ltd.

(Toronto Office)
Unit 2, 109 Woodbine Downs
Blvd, Etobicoke, ON
M9W 6Y1 CANADA
TEL: (0416) 213 9707
U. S. A.
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
TEL: (323) 890 3700
IRAN
MOCO, INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
TEL: (021) 285-4169
As of January 1, 2002 (Roland)
For EU Countries
This product complies with the requirements of European Directive 89/336/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numrique de la classe B respecte toutes les exigences du Rglement sur le matriel brouilleur du Canada.
Installing the Music Stand (RS-9 Only)

A music stand is provided with the RS-9. The following describes how to
attach and remove the stand.
Owners Manual
Owners Manual
Using the supplied screws, fasten the music stand to the back
of the RS-9 as shown at left.
Turn the screws clockwise to tighten them.
To remove the music stand, support it with one hand while

loosening the screws.
Thank you, and congratulations on your choice of the Roland RS-5/9 64 Voice Synthesizer
Before using this unit, carefully read the sections entitled: USING THE UNIT
SAFELY and IMPORTANT NOTES (p. 2; p. 3). These sections provide important
information concerning the proper operation of the unit. Additionally, in order to feel
assured that you have gained a good grasp of every feature provided by your new unit,
Owners manual should be read in its entirety. The manual should be saved and kept
on hand as a convenient reference.
How to read this manual

The RS-5/9 Owner's Manual consists of two volumes, Quick Start and Advanced Use.
* When attaching the music stand, support it firmly with one hand to make sure that
you do not drop it. Be careful, so you do not get your fingers pinched.
Quick Start explains the basic functionality of the RS-5/9. By reading the Quick Start, you
will gain an overall understanding of the RS-5/9's functions and features. And, for every
item explained, you will find a convenient reference to the relevant page numbers in
Advanced Use, which you can turn to for additional information.
* Do not apply excessive force to the front or back of the installed music stand.
* Should you remove the screws used for attaching the music stand, make sure to put
them in a safe place out of children's reach, so there is no chance of them being
swallowed accidentally.
Read the material in Advanced Use when making detailed settings, when saving settings,
and when using the RS-5/9 together with external devices.
This manual is arranged into sections, according to objective. Whenever you are curious
about a certain item that can be set, and want to learn more about the function, refer to the
Parameter List. The relevant reference pages are provided.
Convention Used in This Manual
Words enclosed in square brackets [ ] indicate panel buttons.

Example: [SPLIT] indicates the SPLIT button.
(p. **) indicates a reference page
02340601
02-3-AE2-51N
Copyright 2000 ROLAND CORPORATION

All rights reserved. No part of this publication may be reproduced in any form
without the written permission of ROLAND CORPORATION.

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What safety precautions should be taken when using the synthesizer?

What safety precautions should be taken when using the synthesizer?

How should the owner's manual be read?

How should the owner's manual be read?

Owners Manual

How to read this manual

Convention Used in This Manual

Words enclosed in square brackets [ ] indicate panel buttons.

(p. **) indicates a reference page

Copyright 2000 ROLAND CORPORATION

For the U.K.

Used for instructions intended to alert

The symbol alerts the user to things that must be

Before using this unit, make sure to read the

Make sure you always have the unit placed so it is

Do not open (or modify in any way) the unit or its

Do not attempt to repair the unit, or replace parts

Never use or store the unit in places that are:

Be sure to use only the AC adaptor supplied with

Do not excessively twist or bend the power cord,

This unit, either alone or in combination with an

Do not allow any objects (e.g., flammable material,

The unit and the AC adaptor should be located so

Immediately turn the power off, remove the AC

Always grasp only the plug or the body of the AC

Whenever the unit is to remain unused for an

Try to prevent cords and cables from becoming

Never climb on top of, nor place heavy objects on

In households with small children, an adult

Before moving the unit, disconnect the AC

Protect the unit from strong impact.

Do not force the units power-supply cord to share

Before using the unit in a foreign country, consult

Never handle the AC adaptor body, or its plugs,

Before cleaning the unit, turn off the power and

Whenever you suspect the possibility of lightning

Should you remove the screws used for attaching

The AC adaptor will begin to generate heat after long

Before connecting this unit to other devices, turn off the

Using the unit near power amplifiers (or other equipment

Do not expose the display to strong light (such as camera

Unfortunately, it may be impossible to restore the contents

Use a reasonable amount of care when using the units

This device may interfere with radio and television

Do not expose the unit to direct sunlight, place it near

To avoid possible breakdown, do not use the unit in a wet

Never strike or apply strong pressure to the display.

When connecting / disconnecting all cables, grasp the

To avoid disturbing your neighbors, try to keep the units

Do not allow objects to remain on top of the keyboard.

When you need to transport the unit, package it in the box

Never use benzine, thinners, alcohol or solvents of any

Use only the specified expression pedal (EV-5; sold

What can I do with the RS-5/9? (Main features)

Stylish Aluminum Panel

The onboard Tones were composed using Tone resources

The RS-5/9 features a titanium-toned aluminum panel for a

Includes Piano Button (RS-9 Only)

16-Part, 64-Voice GM2 Sound Generator

Includes Favorite Performance Bank Buttons