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Roland D-05 Parameter Guide PDF
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Summary of Content for Roland D-05 Parameter Guide PDF
Contents
Basic Operation 2
Basic Operation for Editing 2
Settings Common to All Screens 2
CONTROL 3
OUTPUT (Output Mode) 4
CHASE 4
TONE TUNE 5
MIDI (MIDI Functions) 5
Copying a Reverb Type 6
Copying a Reverb Type 6
Saving Patches 7
Tone Parameters (Upper/Lower Tone Menu) 8
Common Parameters (Common) 8
Struct (Structure) 8
P-ENV (Pitch Envelope) 8
LFO (Low Frequency Oscillator) 9
EQ/CHORUS (Equalizer/Chorus) 10
Partial Parameters (Part-1, Part-2) 11
PITCH (WG Pitch) 11
Form (WG Form) 12
TVF (Time Variant Filter) 13
TVA (Time Variant Amplifier) 15
Key Mode Alteration 18
Mono Mode, Poly Mode 18
SEQUENCER/ARPEGGIATOR 19
Transferring Patches To and From the D-50/550 21
Transferring Patches from the D-50 to the D-05 22
Transferring Patches from the D-50/550 to the D-05 22
Sound List 23
Preset Patches 23
Waveform 29
Parameter List 31
Patch Factors 31
Tone Parameters 31
Common Parameters 31
Partial Parameters 32
System Parameters 32
MIDI Implementation 33
D-05 Parameter Guide
Copyright 2017 ROLAND CORPORATION
02
2
Basic Operation
Basic Operation for Editing The items that you can edit are grouped into screens. To find the item that you want to edit, switch between display screens as necessary.
1 Make sure that the PATCH TOP screen is shown.
2 Press the [EDIT] button.
Edit Menu
(TnTune)(RtEdit)
3 Press the [F2] (PtEdit) button. The Patch Edit Menu screen appears.
Patch Edit Menu
(P-Name) (Ctrl)
4 Use the [ ] [ ] buttons to switch pages, and use the [F1] [F2] buttons to select the item that you want to edit.
Item Explanation
P-Name (Patch Name)
Rename the patch.
Use the [F1] [F2] buttons to move the cursor
Use the numeric keys to input characters
Press the [EXIT] button to exit the screen
Ctrl (Control) Control functions (p. 3)
Output Output mode (p. 4)
Chase Chase function (p. 4)
MIDI MIDI functions for each patch (p. 5)
5 Use the [ ] [ ] buttons to switch pages, and use the [F1] [F2] buttons to select the item that you want to edit.
Control Edit
Bend 05 AfPB 00
When you press a [F1] [F2] button, the selected parameter blinks.
6 Use the joystick or the [INCREMENT] [DECREMENT] buttons to edit the setting. Press the [EXIT] button to return to the Patch Edit Menu screen.
7 Repeat steps 56 to make patch factor settings.
8 If you want to save the edited settings, perform the Write operation. & Saving Patches (p. 7) If you dont want to save, press the [EXIT] button to return to the PATCH TOP screen. If you return to the PATCH TOP screen without saving, the colon (:) between the patch number and patch name blinks, indicates that the patch settings are modified (the patch is being edited). * If you select another patch while editing, or turn off the power,
the changes you made to the patch settings are lost.
Settings Common to All Screens
UPPER/LOWER/VALUE/LOCAL (switching the joysticks function)
These buttons switch the function of the joystick. The function changes each time you press a selection button.
Indicator / Button Explanation
UPPER The up/down direction changes the part balance, and the left/right direction changes the partial balance of the selected part.LOWER
VALUE Enters values, such as during editing.
LOCAL Enables local editing (a function that lets you use the joystick to simultaneously edit adjacent items in the display).
Select button Switches in the order of UPPER LOWER VALUE LOCAL.
KEY MODE Neo Horizon
DUAL SP C4
Key Mode refers to the Upper and Lower Tones are played on the keyboard.
1 In the main screen, press the [F1] button and then use the [INCREMENT] [DECREMENT] buttons to edit the parameter.
Value: WHOLE, DUAL, SPLIT, SEP, WHOL-S, DUAL-S, SPL-US, SPL-LS, SEP-S
Indication Description
WHOLE Upper Tone can be played in 16 voice polyphony
DUAL Both Upper and Lower Tones are played by each key in 8 voices polyphony.
SPLIT
The Split mode divides the keyboard into upper and lower sections, where two different Tones can be played in 8 voices polyphony. That is, the D-05 works like two 8 voice synthesizers. The Split Point (where the keyboard is divided into two sections) is shown next to the Key Mode indication.
SEP (Separate) The Separate mode lets you control the upper and lower sections on separate MIDI channels.
WHOL-S (Whole Solo) The Upper Tone is monophonic.
DUAL-S (Dual Solo) Both Upper and Lower Tones are monophonic.
SPL-US (Split Upper Solo) The Upper Tone is monophonic, and the Lower Tone is 8 voices polyphonic.
SPL-LS (Split Lower Solo) The Lower Tone is monophonic, and the Upper Tone is 8 voices polyphonic.
SEP-S (Separate Solo) The Upper Tone and Lower Tone can be controlled on separate MIDI channels. The Upper Tone is monophonic.
* The way in which the Key Mode affects how the voices play depends on whether the D-05 is in mono mode or poly mode. & Key Mode Alteration (p. 18)
3
Basic Operation
SPLIT (Split Point)
Neo Horizon
DUAL SP C4
This specifies the split point that is used when the KEY MODE (key mode) is set to SPLIT (split), SPL-US (split upper solo), or SPL- LS (split lower solo). The Split Point can be changed as follows.
1 In the main screen, press the [F2] (SP) button and then use the [INCREMENT] [DECREMENT] buttons to edit the parameter.
Value: C2C7
C2B2 C3B3 C4B4 C5B5 C6B6 C7 (middle C)
BALANCE (Tone Balance) The volume balance of the Upper and the Lower Tone can be change.
1 In the main screen, press the [ ] button. The page changes.
Neo Horizon
Bal 00 Trns 00
2 Press the [F1] (Bal) button, and then use the [INCREMENT] [DECREMENT] buttons to edit the parameter.
Value: 0100
TRANSPOSE (Transpose) The pitch range of the keyboard can be transposed (shifted) in semitone steps.
1 In the main screen, press the [ ] button. The page changes.
Neo Horizon
Bal 00 Trns 00
2 Press the [F2] (Trns) button, and then use the [INCREMENT] [DECREMENT] buttons to edit the parameter. If you hold down the [SHIFT] button and use the [INCREMENT] [DECREMENT] buttons to edit the parameter, the value changes in steps of one octave (12 semitones).
Value: -360+36
CHASE (Chase Button)
Switches the Chase function (p. 4) on and off.
Value: OFF, ON
PORTAMENTO (Portamento Button)
Switches the Portamento function on and off. Portamento is a slide from one pitch to another, and is often used for violin performance.
Value: OFF, ON
CONTROL These parameters specify how the control functions affect each patch.
Control Edit
Bend 05 AfPB 00
Bend (Bender Range) This specifies the available range of pitch change when you operate pitch bend. The variable range set here may result differently depending on the setting of the Tone Parameter Bender Mode (p. 12).
Value: 012
AfterPB (Aftertouch, Pitch Bender) This sets the sensitivity of the aftertouch effect on pitch. Higher values mean higher sensitivity. A Minus setting decreases the pitch, and a plus setting increases it.
Value: -12+12
Port (Portamento Time) This sets the portamento time from one note to another. Higher values make the time longer.
Value: 0100
4
Basic Operation
Port (Portamento Mode) This selects the Tone that should take on the Portamento effect. When the Key Mode is Whole , Portamento always works whichever of the above three modes may be selected.
Value: U, L, UL
Indication Function
U Works on the Upper Tone.
L Works on the Lower Tone.
UL Works on the both Tones.
* Even when Portamento is set to ON, the Portamento ON/OFF message sent from an external device can change the settings of Portamento.
Hold (Hold Mode) This selects the Tone that on the Pedal Hold effect. When the Key mode is Whole , Pedal Hold always works whichever of the above three modes may be selected.
Value: U, L, UL
Indication Function
U Works on the Upper Tone.
L Works on the Lower Tone.
UL Works on the both Tones.
OUTPUT (Output Mode)
The Output Mode determines how the Tones take on the reverb effect, and how the Tones appear at the outputs. A sound reverberated in an acoustic environment consists of three parts. First, you hear the direct sound as it travels from the source outward. Next the early reflection resounds once, or several time, from the walls, ceiling ,and floor. Finally, you hear the reverberated sound as it reflects many times in the environment.
Output Mode Edit
Mode 01 Rev 24
Sound Generator Listener
Direct Sound
Reverb Sound
Mode (Output Mode) Here you can choose one of four modes to specify how the reverb applied to the two tones is sent from the output.
Value: 0104
Indication Function
01 Stereo reverb works on the mixed sound of Upper and Lower Tones, and id sent out in stereo.
02 The Mixture of Upper and Lower takes on stereo reverb, and the direct sound is sent out separately for Upper and Lower.
03 Only the Upper Tone takes on reverb. Upper and lower Tones are sent out separately.
04 Only the Lower Tone takes on reverb, Upper and Lower Tones are sent out separately.
Rev (Reverb Type) Selects one of the 32-reverb types.
Value: 132 * A reverb type (any one of types 1732) from another bank can be
copied to a reverb type (any one of types 1732) of patch bank U1U8. & Copying a Reverb Type (p. 6)
Rbal (Reverb Balance) Sets the volume of the reverb and direct sounds.
Value: 0100
Indication Function
100 The volume of the reverb sound = maximum, the volume of the direct sound = 0.
0 The volume of the reverb sound = 0, the volume of the direct sound = maximum.
Vol (Total Volume) Sets the volume of both tones, and therefore adjusts the volume difference between Patches.
Value: 0100
CHASE The Chase Play function makes it possible to output the Lower Tone slightly later than the Upper Tone, which is actually played on the keyboard. This function, however, is only available in Dual or Whole Key Mode.
Chase Edit
ModeULU Lev 50
Mode (Chase Mode) Sets how tones sound. Depending on the Chase Level and Velocity , the number of repeats of the delayed sound differ.
Value: UL, ULL, ULU
5 When the Key Mode is Dual
Indication Function
UL The Upper Tone then the Lower Tone is played.
ULL The Upper, then the Lower Tone is repeated.
ULU The Upper, the Lower and the Upper Tone alternate.
5 When the Key Mode is Whole
Indication Function
UL The Upper Tone is played twice.
ULL Upper Tone is repeated.
ULU Upper Tone is repeated.
Lev (Chase Level) This adjusts the level of the sound that is heard after a delay relative to the Upper Tone, which is heard first. Higher values produce a higher level.
Value: 0100
5
Basic Operation
Time (Chase Time) Adjusts the sounding time. Higher value is longer time.
Value: 0100
TONE TUNE The relative pitch of the Upper and the Lower Tones can be separately set. By setting slightly different pitches, a detune effect can be obtained. Also, by lowering the pitch of the Upper Tone, and raising the pitch of the Lower Tone, the pitches of the Two Tones can become exactly the same.
Neo Horizon
LKey 00 Ukey 00
LKey (Key Shift of the Lower Tone) Allows you to shift the pitch of the Lower Tone in semi-tone steps.
Value: -24+24 (+/- 2 octave)
UKey (Key Shift of the Upper Tone) Allows you to shift the pitch of the Upper Tone in semi-tone steps.
Value: -24+24 (+/- 2 octave)
LTun (Fine Tuning of the Lower Tone) Allows you to Tune the pitch of the Lower Tone.
Value: -50+50 (approx. +/- 2 cents)
UTun (Fine Tuning of the Upper Tone) Allows you to Tune the pitch of the Upper Tone.
Value: -50+50 (approx. +/- 2 cents)
MIDI (MIDI Functions)
You can change the setting of the MIDI Functions included Patch Factor as follows.
MIDI Edit
TxCH B TxPC OFF
TxCH (Transmit Channel) The transmit channel of each Patch can be set to a deferent number from the basic channel (Function Menu 0 MIDI 0 CH parameter). At B, the channel number is the same as the Basic Channel.
Value: B (Basic), 116
TxPC (Transmit Program Change Number) A Program Change number to be transmitted can be set for each patch individually. At OFF, the Program Change number preprogrammed in each Patch is transmitted.
Value: OFF, 1100
SepCH (Receive Channel in Separate Mode) A receive MIDI Channel in separate mode can be set for each Patch individually. At OFF, the receive channel set in MIDI Functions commonly set for System Function is used (Function Menu 0 MIDI 0 SepCH parameter).
Value: OFF, 116
6
Copying a Reverb Type
Copying a Reverb Type In addition to the patches (64 patches), 16 reverb types (1732 are also saved to the D-05s patch banks (P1P6, U1U8). Different reverb types 1732 are saved to each patch bank. The reverb types you can use vary with the selected patch as described below.
5 All shared common reverb types (116) can be used.
5 The reverb types 1732 in individual banks can be used only with the patches (64 patches) contained in that bank.
5 Reverb types from a bank other than the internal banks (any from 1 through 32) can be copied to a reverb type in the internal banks (any from 17 through 32).
5 This is convenient when, for example, you want to use Reverb Type 25 (Gate Reverb) from the Patch Bank P1 as Reverb Type 30 in the Patch Bank U1.
1 2 3 4 5 6 7 8 9 10 11 12
13 14 15 16
Common Reverb Type
(NOT rewritable)
17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32
P1 Reverb Type
(NOT rewritable)
17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32
U1 Reverb Type (rewritable)
User BankPreset Bank
* Reverb Types (1732) are transferred simultaneously with patch data when patch data is transferred from the D-50 to the D-05 (bulk loaded) or from the D-05 to the D-50 (bulk dumped).
1 Hold down the [SHIFT] button and press the [WRITE] button. The Reverb Write screen appears.
Reverb Write
To: U8-24
2 Use the [F1] [F2] buttons and the [INCREMENT] [DECREMENT] buttons to select the copy-destination.
3 Press the [ ] button. A confirmation message appears.
Reverb Write?
[EXIT]:N [ENT]:Y
If you decide to cancel, press the [EXIT] button.
4 Press the [ENTER] button.
Completed.
When saving is finished, the destination indicates Completed.
7
Saving Patches 1 Press the [WRITE] button.
The WRITE screen appears.
(Patch Name)
To: U2-11
2 Use the [INCREMENT] [DECREMENT] buttons and the PATCH BANK [1][8] and NUMBER [1][8] buttons to select the save-destination.
3 Press the [ ] button. A confirmation message appears.
Patch Write?
[EXIT]:N [ENT]:Y
4 Press the [ENTER] button.
Completed.
When saving is finished, the destination indicates Completed.
8
Tone Parameters (Upper/Lower Tone Menu) 1 Make sure that the PATCH TOP screen is shown.
2 Press the [EDIT] button.
Edit Menu
(TnTune)(RtEdit)
3 Use the [ ] [ ] buttons to switch the page so that (L-Tone) (U-Tone) is displayed.
Edit Menu
(L-Tone)(U-Tone)
4 Use the [F1] (lower) [F2] (upper) buttons to select the tone that you want to edit.
Upper Tone Menu
(T-Name)(Common)
5 Use the [ ] [ ] buttons to switch pages, and use the [F1] [F2] buttons to select the item that you want to edit.
Item Explanation
T-Name (Tone Name)
Edits the tone name.
Use the [F1] [F2] buttons to move the cursor
Use the numbers to enter characters
Press the [EXIT] button to exit the screen
Common Common parameters
Part-1 (Partial 1 Parameter) Partial parameters
Part-2 (Partial 2 Parameter)
T-Copy (Tone Copy)
Copies a tone.
Select the copy-source, and press the [ ] button
Assign a name, and press the [ ] button
Common Parameters (Common)
& Struct (Structure) (p. 8) & P-ENV (Pitch Envelope) (p. 8) & LFO (Low Frequency Oscillator) (p. 9) & EQ/CHORUS (Equalizer/Chorus) (p. 10)
Struct (Structure)
Str (Structure Number) Selects one of seven ways in which the partials are combined and used.
Value: 0107
Number Partial 1 Partial 2 Combination of two Partials
01 S S Mixture of Partial 1 and partial 2.
02 S S Mixture of Partial 1 and ring- modulation.
03 P S Mixture of Partial 1 and partial 2.
04 P S Mixture of Partial 1 and ring- modulation.
05 S P Mixture of Partial 1 and ring- modulation
06 P P Mixture of Partial 1 and partial 2.
Number Partial 1 Partial 2 Combination of two Partials
07 P P Mixture of Partial 1 and ring- modulation.
S: Synthesizer Sound Generator
P: PCM Sound Generator
R: Ring Modulator
P-ENV (Pitch Envelope)
P-ENV Edit (Envelope)
U:P-Env Edit
Velo 00 TKF 00
Velo (Velocity Range) Sets the maximum effect of the velocity that controls the pitch of the P-ENV. At higher values, the keyboard velocity has a greater, effect on the envelope.
Value: 02
TKF (Keyfollow (Time))
Sets the time of the P-ENV depending on the key played. Higher values change the time more drastically.
Value: 04
P-ENV Time (Pitch Envelope Time)
The envelope curve is determined by times and levels.
L0 T1 T2 T3 T4
L1
L3
SusL
EndL
Point 0 (Key On)
(Key O) Point 4
Point 3
Point 1
Point 2
Pitch 0
T1 (Time 1) Sets the time needed from point 0 (the moment the key is pressed) to point 1.
Value: 050
T2 (Time 2) Sets the time needed from point 1 to point 2.
Value: 050
T3 (Time 3) Sets the time needed from point 2 to point 3.
Value: 050
9
Tone Parameters (Upper/Lower Tone Menu)
T4 (Time 4) Sets the time needed from the moment the key is released to point 4.
Value: 050
P-ENV Level Edit
L0 (Level 0) Sets the pitch created the moment a key is pressed.
Value: -50+50
L1 (Level 1) Sets the pitch of the point 1.
Value: -50+50
L2 (Level 2) Sets the pitch of the point 2.
Value: -50+50
SusL (Sustain level) Sets the pitch of the point 3.
Value: -50+50
EndL (End Level) Sets the pitch of the point 4.
Value: -50+50 * If the Levels of two adjacent points are set to similar values, the
time between these two points may prove to be shorter than what is actually set, or even zero.
* The maximum variable range of each level will depend on the Velocity Range in P-ENV. (p. 8)
Velocity Range Level Range
0 +50 +1 octave
-50 -1 octave
1 +50 +1.5 octave
-50 -1.5 octave
2 +50 +2 octave
-50 -2 octave
Pitch Mod (Pitch Modulation)
Depending on how the LFO in WG Mod (p. 11) is set, the vibrato set here may have no effect at all.
U:P-Mod Edit
LFOD 02
LFOD (LFO Depth) Sets the depth of LFO-1, that controls the WG pitch. Higher values deepen the effect.
Value: 0100
Levr (Pitch Lever Modulation) Sets the sensitivity of the vibrato depth controlled by the bender lever. Higher values deepen the effect.
Value: 0100
Aftr (Pitch Aftertouch Modulation) This sets the sensitivity of the vibrato depth controlled by aftertouch. Higher values deepen the vibrato effect.
Value: 0100
LFO (Low Frequency Oscillator)
The parameters of LFO-2 and LFO-3 can be set like LFO-1, except for a few parameters.
U:LFO1 Edit
WaveTRI Rate 74
Wave (LFO Waveform) Selects the LFO waveform.
Value: TRI, SAW, SQU, RND
Indication Waveform
TRI (Triangle wave)
SAW (Sawtooth)
SQU (Square wave)
RND (Random) Waveform changes randomly.
Rate (LFO Rate) Sets the rate (frequency) of the LFO. Higher values quicken the rate.
Value: 0100
Dely (LFO Delay Time) This sets the time needed for the LFO to appear, from the moment a key is pressed. Higher values increase the delay time.
Value: 0100
Sync Selects the timing of the LFO oscillation as follows. For LFO-2 and LFO-3, KEY cannot be selected.
Value: OFF, ON, KEY
Indication Function
OFF LFO does not sync to the keyboard.
ON When a key is played after all keys have been released, the LFO begins its wave generating process from the beginning.
KEY LFO begins its wave generation from the beginning each time a new key is played.
10
Tone Parameters (Upper/Lower Tone Menu)
EQ/CHORUS (Equalizer/Chorus)
EQ Edit (Equalizer)
In the equalizer section, the frequency characteristic of the sound can be modified.
U:EQ Edit
Lf 300 Lg +01
Frequency
LowFreq
LowGain Level 0
Lf (Low Frequency) Sets the frequency where the gain is altered in the low to middle range.
Value: 63, 75, 88, 105, 125, 150, 175, 210, 250, 300, 350, 420, 500, 600, 700, 840 Hz
Lg (Low Gain) Sets the gain of the lower frequencies. + settings raise the gain, and - settings lower it.
Value: -12+12 dB
Hf (High Frequency) Sets the frequency where the gain is altered in the middle to high range.
Value: 250, 300, 350, 420, 500, 600, 700, 840 Hz, 1.0, 1.2, 1.4, 1.7, 2.0, 2.4, 2.8, 3.4, 4.0, 4.8, 5.7, 6.7, 8.0, 9.5 kHz
HQ (High Q) Sets the width of the frequency band where the gain is boosted or cut. With a higher value, the frequency band is narrower, and vice versa.
Value: 0.3, 0.5, 0.7, 1.0, 1.4, 2.0, 3.0, 4.2, 6.0
FrequencyHiFreq Level 0
HQ is Height.
HQ is low.
Hg (High Gain) Sets the gain of the Hf frequency. + settings raise the gain and - settings lower it.
Value: -12+12 dB
Frequency
HiFreq
Level 0
HiGain
Chorus Edit (Chorus)
U:Chorus Edit
Type 02 Rate 25
Type (Chorus Type) Selects one of the 8 basic chorus effects.
Value: 0108
Indication Type
01 Chorus 1
02 Chorus 2
03 Flanger 1
04 Flanger 2
05 Feedback Chorus
06 Tremolo
07 Chorus Tremolo
08 Dimension
Rate (Chorus Rate) Sets the rate of the chorus effect. Higher values quicken the rate.
Value: 0100
Dpth (Chorus Depth) Sets the depth of the chorus effect. Higher values deepen the effect.
Value: 0100
Bal (Chorus Balance) This sets the volume balance of the chorus of the chorus sound and normal sound.
Value: 0100
11
Tone Parameters (Upper/Lower Tone Menu)
Partial Parameters (Part-1, Part-2)
Restriction of the available parameters caused by Structure
Depending on what Structure is used, the available parameters may be different.
1 Some parameters included in a Partial that uses a PCM sound generator are invalid.
2 With Ring Modulation, some parameters in Partial 2 will automatically become the same as for Partial 1. Therefore, the values shown in the display are irrelevant with the actual values.
& PITCH (WG Pitch) (p. 11) & Form (WG Form) (p. 12) & TVF (Time Variant Filter) (p. 13) & TVA (Time Variant Amplifier) (p. 15) & *Init* (Initialize)
PITCH (WG Pitch)
WG Pitch (Pitch)
S3 WG Pitch
CorsC5 Fine 00
Cors (Pitch Coarse) Sets the standard pitch of a Partial in semi-tone steps. The standard pitch is the pitch at C4 (middle C) key.
Value: C1C7
Fine (Pitch Fine) Makes a fine adjustment to the standard pitch.
Value: -50+50
0
s2 s1
-1
-1/4
-1/2
1/8 1/4 3/8 1/2 5/8 3/4 7/8 1
5/43/22
1
0
-1
2
+3 Pitch (Octave)
Middle C (C4)
KF (Keyfollow (pitch)) Usually, the keyboard to a synthesizer assigns a semi-tone to each key. This parameter can change the pitch ratio as show below. The value represents how many octaves are changed over 12 keys.
Value: -1, -1/2, -1/4, 0, 1/8, 1/4, 3/8, 1/2, 5/8, 3/4, 7/8, 1, 5/4, 3/2, 2, s1, s2 * s1 or s2 may be selected for slightly stretching octaves.
s1: Pitch 1 cent higher than one octave.
s2: Pitch 5 cents higher than one octave.
WG Mod (Modulation)
S3 WG Mod
LFO OFF ENV (+)
LFO (LFO Mode)
Normal
- is selected.
Selects one of the following four vibrato modes.
Value: OFF, (+), (-), A&L
Indication Function
OFF No vibrato is obtained.
(+) Vibrato is on.
(-) Vibrato is on but inverted.
A&L Vibrato can be obtained only by Aftertouch and Bender Lever.
ENV (P-ENV Mode)
+ is selected.
- is selected.
Selects one of the following three modes, determining how the pitch is controlled by P-ENV.
Value: OFF, (+), (-)
Indication Function
OFF No alteration.
(+) Pitch changes with the set P-ENV curve.
(-) Pitch changes with the P-ENV curve inverted.
12
Tone Parameters (Upper/Lower Tone Menu)
Bend (Bender Mode) Selects how the pitch is controlled by the bender lever as follows.
Value: OFF, KF, Norm
Indication Function
OFF No pitch alteration by moving the lever right or the left.
KF Pitch changes within the Bender range, set in Patch Factors, plus Keyfollow (Pitch) of WG.
Norm Pitch changes within the Bender range, set in Patch Factors.
Bender Mode Example: 5 If the Bender range (p. 3) is set to 12 (1 octave), and the Keyfollow (Pitch) (p. 11) of WG is set to 2, the maximum pitch change caused by moving the Bender Lever is 2 octaves.
5 When the Keyfollow (Pitch) (p. 11) of WG is set to zero, there is no pitch change caused by the Bender lever.
Form (WG Form)
WG Form (Waveform)
S3 WG Form
WaveSAW
Wave (Waveform) Selects the waveform of the synthesizer sound generator.
Value: SQU, SAW
Indication Waveform
SQU (Square wave)
SAW (Sawtooth)
* A sawtooth waveform is produced by processing a square Waveform at the TVF, that is, all the waveform are square at WG even when a sawtooth is selected.
PCM (PCM Wave Number) This selects one of the 100 different sampled waves of the PCM sound generator. & Waveform (p. 29)
Value: 1100
WG PW (Pulse Width)
S3 WG PW
PW 00 Velo 00
PW (Pulse Width) A square waveform has exactly the same width, up and down but a Pulse waveform has different widths. The ratio of upper width to lower is called pulse width. Depending on the set pulse width value, the harmonic content of the sound changes greatly.
Value: 0100 * When a sawtooth is selected with WG Waveform , pulse width
50% raises the pitch by an octave.
97%
50%
50
0
100
Velo (Velocity Range) Sets the sensitivity of the velocity that controls the pulse width. With - values, the pulse width becomes smaller by playing the keyboard harder, and with + values, the pulse width becomes wider by playing the keyboard harder.
Value: -7+7
-7
+7
0
Aftr (Aftertouch Range) Sets the sensitivity of the aftertouch that controls the pulse width. With - values, the pulse width becomes smaller with stronger aftertouch, and with + values, the pulse width becomes wider with stronger aftertouch.
Value: -7+7
13
Tone Parameters (Upper/Lower Tone Menu)
LFO (LFO Select) Pulse Width Modulation (PWM) means changing the pulse width periodically. LFO Select decides which of the LFOs is to be used for modulating the pulse width.
Value: +1, -1, +2, -2, +3, -3
Positive Phase (+)
Negative Phase (-)
Indication LFO (Phase)
+1 LFO-1 (+)
-1 LFO-1 (-)
+2 LFO-2 (+)
-2 LFO-2 (-)
+3 LFO-3 (+)
-3 LFO-3 (-)
LFOD (LFO Depth) This sets the depth of the PWM. Higher values Deepen the effect.
Value: 0100
TVF (Time Variant Filter)
TVF
Freq (Cutoff Frequency) Sets the cutoff point of the TVF. As you lower the value, higher frequencies are removed and the waveform gradually become an approximation of a sine wave, then the sound will finally fade out.
Value: 0100
Frequency
Level
Cuto Point Frequency
Level
Cuto Point Frequency
Level
Cuto Point Frequency
Level
0
100
Value
Reso (Resonance) Boosts the cutoff point. As you increase the value, specific harmonics are emphasized and the sound will become more unusual, more electronic in nature.
Value: 030
Cuto Point Frequency
Level
0
30
Value
Cuto Point Frequency
Level
Cuto Point Frequency
Level
Cuto Point Frequency
Level
KF (Keyfollow (Cutoff Point)) Keyfollow can change the cutoff point depending on the key played. Just like the Keyfollow of WG pitch, the value represents how many octaves change over 12 keys.
Value: -1, -1/2, -1/4, 0, 1/8, 1/4, 3/8, 1/2, 5/8, 3/4, 7/8, 1, 5/4, 3/2, 2
0
-1
-1/4
-1/2
1/8 1/4 3/8 1/2 5/8 3/4 7/8 1
5/43/22
1
0
-1
2
+3 Pitch (Octave)
Middle C (C4)
BP (Bias Point) You can add a further change (= bias level) to the Keyfollow curve, and set the range (bias direction) where the bias level is valid. The bias range is where the bias level is valid on the keyboard. It can be set with the bias point (where the bias range begins) and bias direction ( < or > ).
Value:
Display Example Example Function
>C4 The bias level is only valid on the keyboard above the C4 key.
The bias level is only valid on the keyboard below the C4 key.
14
Tone Parameters (Upper/Lower Tone Menu)
BLvl (Bias Level) The bias level can be set. + values raise the curve, and - value lower the curve.
Value: -7+7
Keyfollow Adjustment
0 Angle
Middle C (C4)
Value
The curve in the picture represents the Keyfollow value with the bias level added. This means that if the keyfollow slope is different, the actual slope will differ even if the value of the slope to be biased is the same.
TVF Keyfollow (Cutoff Point): 0
Bias Direction: >C4
TVF ENV (TVF Envelope)
S3 TVF ENV
Depth100 Velo 00
Dpth (ENV Depth) Sets the depth of the TVF ENV modulation that changes the TVF cutoff Point. Higher values deepen the effect.
Value: 0100
Velo (Velocity Range) Sets the sensitivity of the velocity than controls the depth of the TVF ENV. At higher values, the effect is deeper by playing harder.
Value: 0100
DKF (Keyfollow (Depth)) This can change the TVF ENV depth depending on the key played. Higher values change the depth more drastically.
Value: 04
TKF (Keyfollow (Time))
This can change the time of the TVF ENV depending on the key played. Higher values change the time more drastically.
Value: 04
TVF ENV Time (TVF Envelope Time)
An envelope curve is determined by times and levels.
T1 T2 T3 T4 T5
SusLL3L2L1
Point 1
Point 3
Point 4
Point 5 EndL
Point 2
Key On Key O
S3 TVF ENV
T1 00 T2 00
T1 (Time 1) Sets the time needs to reach point 1 from the moment the key is pressed.
Value: 0100
T2 (Time 2) Sets the time needed to reach point 2 from point 1.
Value: 0100
T3 (Time 3) Sets the time needed to reach point 3 from point 2.
Value: 0100
T4 (Time 4) Sets the time needed to reach point 4 from point 3.
Value: 0100
T5 (Time 5) Sets the time needed to reach point 5 from the moment the key is released.
Value: 0100
TVF ENV Level (TVF Envelope Level)
S3 TVF ENV
L1100 L2100
L1 (Level 1) Sets the of point 1.
Value: 0100
L2 (Level 2) Sets the level of point 2.
Value: 0100
L3 (Level 3) Sets the level of point 3.
Value: 0100
SusL (Sustain level) This sets the level of point 4.
Value: 0100
15
Tone Parameters (Upper/Lower Tone Menu)
EndL (End Level) To lower the level after releasing the key, set this to 0, and to raise the level, set it to 100.
Value: 0, 100 * The End Level is retained until you release and play the key again.
* If the Levels of two adjacent points are set to similar values, the time between these two points may prove to be shorter than what is actually set, or even zero.
TVF MOD (TVF Modulation)
S3 TVF Mod
LFO +1 LFOD 00
LFO (LFO Select) Selects the LFO that changes cutoff point periodically (creating growl effects).
Value: +1, -1, +2, -2, +3, -3
Positive Phase (+)
Negative Phase (-)
Indication LFO (Phase)
+1 LFO-1 (+)
-1 LFO-1 (-)
+2 LFO-2 (+)
-2 LFO-2 (-)
+3 LFO-3 (+)
-3 LFO-3 (-)
LFOD (LFO Depth) Sets the depth of a growl effect. Higher values deepen the effect.
Value: 0100
Aftr (Aftertouch Range) Sets the sensitivity of the aftertouch that controls the cutoff point. - values lower the cutoff point by stronger Aftertouch, and + values raise it.
Value: -7+7
TVA (Time Variant Amplifier)
TVA
S3 TVA
Levl 80 Velo+10
Levl (Level) Sets the volume of a Partial. Higher values may cause sound distortion. If so, lower the value. Even when the Level is set to zero here, the sound may not be completely muted if the TVA ENV curve is high.
Value: 0100
Velo (Velocity Range) Sets the sensitivity of the velocity that controls the volume of the sound. - values lower the level by harder playing, and + values raise the level by harder playing.
Value: -50+50
BP (Bias Point) You can change the overall volume of the keyboard (= bias level) from the set level, and set the range (bias direction) where the bias level is valid. This bias range is where the bias level is valid on the keyboard. It can be set with the bias point (Where he bias range begins) and bias direction ( < or > ).
Value:
Display Example Function Example
>C4 The bias level is only valid on the keyboard above the C4 key.
The bias level is only valid on the keyboard below the C4 key.
BLvl (Bias Level) The curve ( bias level ) can be set. Lower values make the curve steeper.
Value: -120
Volume Adjustment
0 Angle
C6
Value
Bias Point: >C6
16
Tone Parameters (Upper/Lower Tone Menu)
TVA ENV Time (TVA Envelop Time)
An envelope curve is determined by times and levels.
T1 T2 T3 T4 T5
SusLL3L2L1
Point 1
Point 3
Point 4
Point 5 EndL
Point 2
Key On Key O
S3 TVA ENV
T1 00 T2 00
T1 (Time 1) Sets the time needed to reach point 1 from the moment the key is pressed.
Value: 0100
T2 (Time 2) Sets the time needed to reach point 2 from point 1.
Value: 0100
T3 (Time 3) Sets the time needed to reach point 3 from point 2.
Value: 0100
T4 (Time 4) Sets the time needed to reach point 4 from point 3.
Value: 0100
T5 (Time 5) Sets the time needed to reach point 5 from the moment the key is released.
Value: 0100
TVA ENV Level (Level)
S3 TVA ENV
L1100 L2100
L1 (Level 1) Sets the level of point 1.
Value: 0100
L2 (Level 2) Sets the level of point 2.
Value: 0100
L3 (Level 3) Sets the level of point 3.
Value: 0100
SusL (Sustain level) Sets the level of point 4.
Value: 0100
EndL (End Level) To lower the level after releasing the key, set this to 0, and to raise the level, set it to 100.
Value: 0, 100 * The End Level remains until the key is released and played again.
That is, at a value of 100, the sound remains. However, the PMC Sound Generators One-shot sounds do not remain even when set to 100.
* If the levels of two adjacent points are set to similar values, the time between these two points may prove to be shorter than what is actually set, or even zero.
TVA ENV (Envelope)
S3 TVA ENV
Velo 00 TKF 00
Velo (Velocity Follow (Time 1)) Sets the sensitivity of the velocity than controls the Time 1 of the TVA ENV. Increasing the sensitivity shortens Time 1, by stronger playing.
Value: 04
TKF (Keyfollow (Time)) This can change the time o the TVA ENV depending on the key played. 0 to 4 are valid. Higher values change the time more drastically.
Value: 04
17
Tone Parameters (Upper/Lower Tone Menu)
TVA MOD (TVA Modulation)
S3 TVA Mod
LFO +1 LFOD 00
LFO (LFO Select) Selects the LFO that changes the volume periodically (tremolo effects) .
Value: +1, -1, +2, -2, +3, -3
Positive Phase (+)
Negative Phase (-)
Indication LFO (phase)
+1 LFO-1 (+)
-1 LFO-1 (-)
+2 LFO-2 (+)
-2 LFO-2 (-)
+3 LFO-3 (+)
-3 LFO-3 (-)
LFOD (LFO Depth) Sets the depth of the tremolo effect. Higher values deepen the effect.
Value: 0100
Aftr (Aftertouch Range) Sets the sensitivity of the aftertouch that controls the volume. - values lower the volume by stronger aftertouch. And + values increase the volume by stronger aftertouch.
Value: -7+7
18
Key Mode Alteration The way in which the Key Mode (p. 2) affects how notes are sounded differs depending on whether youre using the D-05 in mono mode or in poly mode.
Mono Mode, Poly Mode When youre using the D-05 from an external MIDI device, the D-05 can receive MIDI channels in the following two ways. The D-05 can be used in one or the other of these two modes.
Name Function
Poly Mode
Allows the control of more than one Key message on one channel at a time.
The D-05 is 16 or 8 voices polyphonic (depending on the patch used). So the Poly Mode can be used the D-05 is controlled by a keyboard or sequencer.
Mono Mode
Allows only one MIDI massage on one channel. The D-05 is 8 voices polyphonic using 8 MIDI channels. The Mono mode is ideal for a MIDI Guitar System (GR-55, etc.) hat has Mono mode, and transmits the messages of each string separately on a different channel. In the other words, Mono mode makes it possible to reproduce guitar sounds without spoiling the natural characteristics of the instrument.
Select Poly or Mono mode depending on the type of Mode Message sent from the external MIDI device. When Mono mode messages are received by the D-05, the messages can now be received on a channel group (= eight consecutive MIDI channels, the basic channel being the lowest number). * The Mono mode of the D-05 allows it to receive only the note and
bender messages for each channel, therefore it is NOT possible to set a different sound for each note separately.
19
SEQUENCER/ARPEGGIATOR When you want to use the sequencer, press the [SEQUENCER] button.
The PATCH BANK [1][8] buttons and NUMBER [1][8] buttons indicate the status of each step in the step display area thats selected (STEP: 116, 1732, 3348, 4964).
SEQ MAIN (sequencer screen)
:120 1-16* -
Play (PtnSel)
Shown on the panel (step buttons)
Steps shown on the panel (step buttons)
Currently playing
Tempo
Outside the STEP LENGTH range
You can change the tempo when the tempo is displayed and no item is selected by the [F1] [F2] buttons.
Use the [ ] [ ] buttons to change the range of steps that are shown. Press a [1][16] button to enable step input. The screen shows step information.
STEP INFO Step 1 Gate 80
C4 D#4 G4 ---
Play/Stop Plays/stops the selected pattern.
(PtnSel) Pattern Select Accesses the pattern select screen.
SEQ PRM (sequencer parameter)
In the SEQ MAIN screen, hold down the [SHIFT] button and press the [F2] button to access the SEQ PRM screen.
Len (Length) Specifies the pattern length (number of steps).
Value: 164
Scal (Scale) Specifies the note value of one step.
Value: 4, 8, 16, 32, 4T, 8T, 16T
Indication Explanation
4 Quarter note
8 Eighth note
16 Sixteenth note
32 Thirty-second note
4T Quarter-note triplet
8T Eighth note triplet
16T Sixteenth note triplet
Shfl (Shuffle) Specifies the amount of rhythm bounce (shuffle).
Value: -900+90
Gate (Gate) Specifies the note duration for one step.
Value: 1100
Off (Off Step Mode) Specifies whether muted steps will be treated as rests or skipped (Off Step Mode). * This setting is not saved in the pattern.
Value: REST, SKIP
Indication Explanation
REST Rest
SKIP Skip
Ord (Step Order) Specifies the playback order of the steps. * This setting is not saved in the pattern.
Value: , , , , RND
Indication Explanation
Play forward from the first step.
Play backward from the last step.
Play forward from the first step, and then play backward from the last step.
Play with even-numbered and odd-numbered steps inverted.
RND Play steps randomly.
S Stp (Start Step) By specifying the start step, you can make playback start from a step thats mid- way through the pattern. Steps earlier than this step are not played.
* This setting is not saved in the pattern.
1 Hold down the [F1] button and use the [INCREMENT] [DECREMENT] buttons to edit the value.
Value: -, 164
Indication Explanation
- Not specified
164 First step
E STP (End Step) By specifying the last step, you can make a step thats mid-way through the pattern be treated as though it were the last step. Steps later than this step are not played. * This setting is not saved in the pattern.
1 Hold down the [F2] button and use the [INCREMENT] [DECREMENT] buttons to edit the value.
Value: -, 164
Indication Explanation
- Not specified
164 Last step
20
SEQUENCER/ARPEGGIATOR
* Clear * Clears the pattern.
PATTERN WRITE While the sequencer screen is displayed, press the [WRITE] button.
(Pattern name) Edits the pattern name.
[F1] [F2] buttons: Move the cursor
Tempo Specifies the tempo.
Value: OFF, 40300
Indication Explanation
OFF The tempo is not stored.
40300 The pattern is stored with the specified tempo.
Shuffle Specifies the amount of rhythm bounce (shuffle).
Value: OFF, -90090
Indication Explanation
OFF The amount of shuffle is not stored.
-90090 The pattern is stored with the specified amount of shuffle.
Pattern Patch Heres how to specify the patch that is used when the patch is played.
1 Use the [INCREMENT] [DECREMENT] [PRESET/USER], PATCH BANK, and PATCH NUMBER buttons to specify the value.
2 If you want to turn this parameter OFF, press the [PRESET/USER] button and then press the [DECREMENT] button to select OFF
Value: OFF, P1-11U8-88
Indication Explanation
OFF The patch is not stored.
P1-11U8-88 The pattern plays with the specified patch.
During STEP REC (step recording screen)
In the SEQ MAIN screen, hold down the [SHIFT] button and press the [F1] button to access the STEP REC screen.
Rest ([F1] button) Inputs a rest.
Tie ([F2] button) Inputs a tie (the note value is added to the preceding step).
Use the [ ] [ ] buttons to change the range of steps that are shown. When you press a key, a note is input at the current step. The screen shows step information.
STEP INFO Step 1 Gate 80
C4 D#4 G4 ---
Press a [1][16] button to enable step input. The screen shows step information.
STEP INFO Step 1 Gate 80
C4 D#4 G4 ---
ARP (arpeggiator)
To access the arpeggiator screen, hold down the [SHIFT] button and press the [SEQUENCER] button.
:125 ARP
Sw OFF Typ UP1
Sw (Switch) Turns the arpeggiator on/off.
Value: OFF, ON
Typ (Type) Selects the type of arpeggio.
Value: UP1, U&D1, DOWN1, UP2, U&D2, DOWN2
Indication Explanation
UP1 Upward one octave
U&D1 Upward and downward one octave
DOWN1 Downward one octave
UP2 Upward two octaves
U&D2 Upward and downward two octaves
DOWN2 Downward two octaves
Scal (Scale) Specifies the note value of one step.
Value: 4, 8, 16, 32, 4T, 8T, 16T
Indication Explanation
4 Quarter note
8 Eighth note
16 Sixteenth note
32 Thirty-second note
4T Quarter-note triplet
8T Eighth note triplet
16T Sixteenth note triplet
Hold If this is on, the arpeggio continues playing according to the chord you had been playing even after you release your hand. If you play a different chord while the arpeggio is being held, the arpeggio also changes.
21
Transferring Patches To and From the D-50/550 You can use MIDI to transmit patch data (64 patches) saved on your D-50 and receive the data with the D-05. This procedure is known as bulk load This is an easy and convenient way to take your own original patches (64 patches) created with the D-50 and use them with the D-05. Conversely, you can also send patch data edited using the D-05 via MIDI to the D-50/550. This procedure is called bulk dump * Read this material together with the D-50/550 Owners Manual.
Data transfer A set of data can be sent to another D-50 using Roland MIDI exclusive messages, and stored on that device. This is called data transfer; transmitting data is called bulk dump, and receiving this data is called bulk load Data transfer can occur using either of two methods: handshake or one-way.
Handshake data transfer Handshake transfers the data while verifying that the other connected device has correctly received the data; this allows the data to be sent reliably and quickly.
< Handshake connections >
MIDI OUT
MIDI IN MIDI IN
D-05
MIDI OUT
D-50
1 Set the receiving unit and the transmitting unit to the same basic channel.
2 Turn memory protect off for the receiving unit (Function Menu 0 Func 0 Protect parameter).
3 Press the data transfer button of the receiving unit and the transmitting unit. (in the case of the D-50/D-550)
4 Put the receiving unit in the receive-ready condition.
Operations on the D-05 From U1U8, select the group that you want to transfer. * P1P6 cannot be transferred.
4-1 Press the [FUNCTION] button.
Function Menu
(Func) (MIDI)
4-2 Press the [ ] button to access the (B.Dump) (B.Load) screen.
Function Menu
(B.Dump)(B.Load)
4-3 Press the [F2] button.
Bulk Load Sure?
[EXIT]:N [ENT]:Y
4-4 Press the [ENTER] button. Read this material together with the D-50/550 Owners Manual.
5 Put the transmitting unit in the transmit-ready condition.
Operations on the D-05 From U1U8, select the group that you want to transfer. * P1P6 cannot be transferred.
5-1 Press the [FUNCTION] button.
Function Menu
(Func) (MIDI)
5-2 Press the [ ] button to access the (B.Dump) (B.Load) screen.
Function Menu
(B.Dump)(B.Load)
5-3 Hold down the [SHIFT] button and press the [F1] button.
Bulk Dump Sure?
[EXIT]:N [ENT]:Y
5-4 Press the [ENTER] button. Read this material together with the D-50/550 Owners Manual.
One-way data transfer One-way is the method in which data is sent from one unit regardless of the state of the receiving unit. Although the connection is simple, it takes somewhat longer to transfer the data than the handshake transfer method.
< One-way connection >
D-05 D-50
MIDI OUT
MIDI IN
D-05D-50
MIDI OUT MIDI IN
1 Set the receiving unit and the transmitting unit to the same basic channel.
2 Turn memory protect off for the receiving unit (Function Menu 0 Func 0 Protect parameter).
3 Press the data transfer button of the receiving unit and the transmitting unit. (in the case of the D-50/D-550)
4 Put the receiving unit in the receive-ready condition.
Operations on the D-05 From U1U8, select the group that you want to transfer. * P1P6 cannot be transferred.
22
Transferring Patches To and From the D-50/550
4-1 Press the [FUNCTION] button.
Function Menu
(Func) (MIDI)
4-2 Press the [ ] button to access the (B.Dump) (B.Load) screen.
Function Menu
(B.Dump)(B.Load)
4-3 Hold down the [SHIFT] button and press the [F2] button.
BulkLoad.O Sure?
[EXIT]:N [ENT]:Y
4-4 Press the [ENTER] button. Read this material together with the D-50/550 Owners Manual.
5 Put the transmitting unit in the transmit-ready condition.
Operations on the D-05 From U1U8, select the group that you want to transfer. * P1P6 cannot be transferred.
5-1 Press the [FUNCTION] button.
Function Menu
(Func) (MIDI)
5-2 Press the [ ] button to access the (B.Dump) (B.Load) screen.
Function Menu
(B.Dump)(B.Load)
5-3 Hold down the [SHIFT] button and press the [F1] button.
BulkDump.O Sure?
[EXIT]:N [ENT]:Y
5-4 Press the [ENTER] button. Read this material together with the D-50/550 Owners Manual.
Transferring Patches from the D-50 to the D-05 Patches (64 patches) bulk loaded from the D-50 to the D-05 are temporarily transferred to the patch bank that includes the current patch.
Currently Patch Sample 0 Destination Patch Bank Sample U1-11: Fantasia 0 User1-11User1-88 U6-88: Big Wave 0 User6-11User6-88
5 The patches (64 patches) originally residing in the bulk load destination will appear to have been overwritten.
5 Patches saved to memory cards used with the D-50 (M-256D) cannot be transferred directly from these memory cards to the D-05. First, transfer the patch data to the D-50 from the memory card (M-256D), then transfer the patch data from the D-50 to the D-05.
1 1 2 3 4 5 6 7 8
2 3 4 5 6 7 8 Number
Bank
D-05:User1
1 1 2 3 4 5 6 7 8
2 3 4 5 6 7 8 Number
Bank
D-50
1 1 2 3 4 5 6 7 8
2 3 4 5 6 7 8 Number
Bank M-256D
Transferring Patches from the D-50/550 to the D-05 * You cannot bulk load data when a patch in the Preset Banks
(P1 P6) is selected.
* The D-05 display does not change immediately following the bulk load. You can confirm the outcome of the transfer by switching patches.
23
Sound List
Preset Patches W = WHOLE, D = DUAL, S = SPLIT
P1 (Preset 1:Original D-50)
No.1 2 3 4 5 6 7 8
BANK 1 Fantasia
(D)
Metal Harp
(D)
Jazz Guitar Duo
(D)
Arco Strings
(D)
Horn Section
(D)
Living Calliope
(D)
D-50 Voices
(D)
Slow Rotor
(D)
2 DigitalNativeDance
(D)
Bass Marimba
(D)
Flute-Piano Duo
(S)
Combie Strings
(D)
Harpsichord Stabs
(D)
Griitttarr
(D)
Nylon Atmosphere
(D)
Synthetic Electric
(D)
3 Breathy Chiffer
(D)
Gamelan bell
(D)
Slap Brass
(D) PressureMe Strings (D)
Rich Brass
(D)
Pipe Solo
(D)
Soundtrack
(D)
Cathedral Organ
(D)
4 Shamus Theme
(D)
Vibraphone
(D)
Basin Strat Blues
(S)
Pizzagogo
(D)
Flutish Brass
(D)
Pressure Me Lead
(W)
Spacious Sweep
(W)
Piano-Fifty
(D)
5 Glass Voices
(D)
Hollowed Harp
(D)
Ethnic Session
(D)
Jete Strings
(D)
Stereo Polysynth
(D)
Tine Wave
(D)
Syn-Harmonium
(W)
Rock Organ
(D)
6 Staccato Heaven
(D)
Oriental Bells
(D)
E-Bass and E-Piano
(S)
Legato Strings
(D)
JX Horns-Strings
(D)
Shakuhachi
(D)
Choir
(D)
Picked Guitar Duo
(D)
7 Nightmare
(D)
Syn Marimba
(D)
Slap Bass n Brass
(S)
String Ensemble
(D)
Velo-Brass
(W)
Digital Cello
(D)
O K Chorale
(D)
Pianissimo
(D)
8 Intruder FX
(D)
Steel Pick
(D)
Synth Bass
(D)
Afterthought
(D)
Bones
(D)
Bottle Blower
(D)
Future Pad
(D)
PCM E-Piano
(D)
Reverb type
01. Small Hall
02. Medium Hall
03. Large Hall
04. Chapel
05. Box
06. Small Metal Room
07. Small Room
08. Medium Room
09. Medium Large Room
10. Large Room
11. Single Delay (102 ms)
12. Cross Delay (180 ms)
13. Cross Delay (224 ms)
14. Cross Delay (148-296 ms)
15. Short Gate (200 ms)
16. Long Gate (480 ms)
17. Bright Hall
18. Large Cave
19. Steel Pan
20. Delay (248 ms)
21. Delay (338 ms)
22. Cross Delay (157 ms)
23. Cross Delay (252 ms)
24 Cross Delay (274-137 ms)
25. Gate Reverb
26. Reverse Gate (360 ms)
27. Reverse Gate (480 ms)
28. Slap Back
29. Slap Back
30. Slap Back
31. Twisted Space
32. Space
24
Sound List
P2 (Preset 2: New for D-05)
No.1 2 3 4 5 6 7 8
BANK 1 Neo Horizon
(D)
Aqua Bells
(D)
Lead with Joystk
(D)
D-50SynBrass
(D)
Fat Warm Pad
(D)
MoodSwingKeys
(D)
PlaceLetsGo Bs
(D)
Industrial Move
(D)
2 A Bright Day
(D)
Music Box
(W)
Hammer Feel
(D)
Darjiling
(D)
I Saw The Light
(D)
MiamiVibe EP
(D)
Power Key Bs
(D)
Fantasy Orche MW
(D)
3 Alienz in G
(D)
Space Harp
(D)
Gargle Lead
(D)
Tweeters
(D)
Future is Behind
(D)
80s Clav
(D)
DoubleGritBs
(D)
Transformed
(D)
4 Grim Sweeper
(D)
Higher Bell
(D)
Minneapolis
(D)
Spectral Voices
(D)
Thoughts
(D)
The House Piano
(D)
MoonStroller Bs
(D)
DanceCombination
(D)
5 Magnif Pad
(D)
Wonder Drops
(D)
MuiltMod Ld
(D)
The Synth Brass
(D)
Saw Strings
(D)
End of the 7 Era
(D)
Mono Octabass
(W)
Rave Stab P
(D)
6 Rain Forest
(D)
Fly Fairy
(D)
TrashTalk Ld
(D)
Chop Flutes
(D)
Atmostrings
(D)
Ripper Bars
(D)
Synthectric Bass
(D)
Auto Work
(S)
7 FastMosphere Pad
(D)
Twinkle Bugs
(D)
Fifty Lead
(D)
D-Choir
(D)
Waving Strings
(D)
Open Da Gate
(D)
Bass Compression
(D)
DeathBrassBand
(D)
8 Zenigma Pad
(D)
Christmas Time
(D)
Narky Light
(D)
50 Flutes
(D)
Elliptic Orbit
(D)
Wide DooWah
(D)
ControllahBs
(D)
Touchdown
(D)
Reverb type
01. Small Hall
02. Medium Hall
03. Large Hall
04. Chapel
05. Box
06. Small Metal Room
07. Small Room
08. Medium Room
09. Medium Large Room
10. Large Room
11. Single Delay (102 ms)
12. Cross Delay (180 ms)
13. Cross Delay (224 ms)
14. Cross Delay (148-296 ms)
15. Short Gate (200 ms)
16. Long Gate (480 ms)
17. Bright Hall
18. Large Cave
19. Steel Pan
20. Delay (248 ms)
21. Delay (338 ms)
22. Cross Delay (157 ms)
23. Cross Delay (252 ms)
24 Cross Delay (274-137 ms)
25. Gate Reverb
26. Reverse Gate (360 ms)
27. Reverse Gate (480 ms)
28. Slap Back
29. Slap Back
30. Slap Back
31. Twisted Space
32. Space
25
Sound List
P3 (Preset 3:PN-D50-01)
No.1 2 3 4 5 6 7 8
BANK 1 Bouncing Bows
(D)
Deep Analog Strings
(D)
Psycho Strings
(D)
Warm Strings
(D)
Deep String Ensmbl
(D)
Symphony Strings
(D)
Chase String Ensmb
(D)
Baroque Strings
(D)
2 Cello
(D)
Viola
(D)
Solo Violin
(D)
Contra Bass
(D)
Choir and Strings
(D)
Harpsi Strings
(D)
Horns and Strings
(D)
Pulse Pad
(D)
3 Classical Horn
(D)
Fanfare
(D)
Tuba
(W)
Velo-Brass 2
(W)
Stab Brass
(D)
Mallet Horns
(D)
Slow Brass Sweep
(D)
Slappin Brass
(D)
4 Tenor Saxophone
(D)
Alto Saxophone
(D)
Soprano Saxophone
(D)
EPiano n Sopranino
(S)
Wild Blow
(D)
Squeeze de Sax
(W)
Harmonica
(W)
Whistling Soldiers
(S)
5 Flute-Piccolo
(D)
Oboe
(D)
Bassoon
(D)
Clarinet
(D)
Ocarina
(W)
Breathing Pipe
(D)
Calliope
(D)
Wabi Sabi
(D)
6 Synth Lead 1
(D)
Synth Lead 2
(W)
Griitttarr 2
(D)
5th Lead Synth
(W)
Analog Solo
(D)
Synth Lead 3
(W)
Gotham Low
(W)
Taj Mahal
(D)
7 Ham and Organ
(D)
Slow Rotor 2
(D)
Slow to Fast Rotor
(D)
Good and Old Days
(W)
Percussive E-Organ
(D)
SlapBass and Organ
(S)
Pipe Organ
(W)
Weird Organ
(D)
8 Star Peace Chorus
(D)
Spacy Voice
(D)
Thinful
(D)
V-Harmonium
(D)
Android
(D)
Nuns
(D)
Pressure Pad
(D)
Digital Sound
(D)
Reverb type
01. Small Hall
02. Medium Hall
03. Large Hall
04. Chapel
05. Box
06. Small Metal Room
07. Small Room
08. Medium Room
09. Medium Large Room
10. Large Room
11. Single Delay (102 ms)
12. Cross Delay (180 ms)
13. Cross Delay (224 ms)
14. Cross Delay (148-296 ms)
15. Short Gate (200 ms)
16. Long Gate (480 ms)
17. Very Small Hall
18. Medium Small Hall
19. Medium Large Hall
20. Very Large Hall
21. Slap Back (short)
22. Slap Back (medium)
23. Slap Back (long)
24 Cross Delay (34-102 ms)
25. Cross Delay (103-206 ms)
26. Cross Delay (130 ms)
27. Cross Delay (306-153 ms)
28. Cross Delay (191 ms)
29. Cross Delay (220 ms)
30. Cross Delay (22.5-284 ms)
31. Cross Delay (382-11 ms)
32. Cross Delay (28-426 ms)
26
Sound List
P4 (Preset 4:PN-D50-02)
No.1 2 3 4 5 6 7 8
BANK 1 Synthetic Piano 1
(D)
Upright Pianer
(D)
Loud Piano
(D)
Tack Piano
(D)
Synthetic Piano 2
(W)
High Piano
(D)
Two Part Invention
(D)
HarpsichordCoupler
(W)
2 Electric Piano
(D)
Xmod Attack EPiano
(W)
Harmonic E-Piano
(D)
Reluctant E-Piano
(D)
Tines
(D)
Old Clav
(W)
Painful Clav
(D)
Flanging Clav
(D)
3 Guitar Frets
(D)
Jazz Guitar
(W)
Spanishart
(D)
Acoustic Guitr Box
(D)
Harp
(W)
Koto
(D)
Sitar
(D)
Hawaiian Palms
(S)
4 Marimba
(D)
Xylophone
(D)
Glockenspiel
(W)
Jamaican Steel
(D)
Perc AAAH
(D)
Tremolo BrassBells
(D)
5th Voice Bells
(D)
Xylo Gate
(W)
5 SambaDrum n Agogo
(S)
Drums Set 1
(S)
Drums Set 2
(S)
Percussion Set 1
(S)
Gron Percussion
(D)
Bell Tree
(W)
Serrengetti
(D)
Bellocell
(D)
6 Fingered Bass
(D)
Slap Bass 1
(D)
Slap It
(D)
Picked Bass
(D)
Fretless Bass
(D)
Acoustic Bass
(D)
Synth Bass 2
(D)
SlapBass-SynBrass
(S)
7 Stringz n Bellz
(D)
Bright Wave
(D)
Gotham Chords
(D)
Wonderwave
(D)
GamelanBells 2
(D)
Ethnic Fifth
(W)
Japanese Duo 1
(S)
Japanese Duo 2
(S)
8 AQUA
(D)
Jet Wars
(S)
Orchestra Hit
(D)
Clock Factory
(D)
Gunfire - Ricochet
(D)
Fast Forward
(W)
Air Raid Siren
(D)
Sweep Loop on C
(D)
Reverb type
01. Small Hall
02. Medium Hall
03. Large Hall
04. Chapel
05. Box
06. Small Metal Room
07. Small Room
08. Medium Room
09. Medium Large Room
10. Large Room
11. Single Delay (102 ms)
12. Cross Delay (180 ms)
13. Cross Delay (224 ms)
14. Cross Delay (148-296 ms)
15. Short Gate (200 ms)
16. Long Gate (480 ms)
17. Very Small Room
18. Medium Small Room
19. Medium Room
20. Large Room
21. Metal Can
22. Short Gate (140 ms)
23. Medium Gate (250 ms)
24 Long Gate (390 ms)
25. Reverse Gate (270 ms)
26. Reverse Gate (440 ms)
27. Delay (94 ms)
28. Delay (122 ms)
29. Delay (142 ms)
30. Cross Delay (168 ms)
31. Delay (212 ms)
32. Delay (290 ms)
27
Sound List
P5 (Preset 5:PN-D50-03)
No.1 2 3 4 5 6 7 8
BANK 1 String Section
(D)
Syn-Strings Hi
(D)
Tension Strings
(D)
Planetary Strings
(D)
Symphony Orchestra
(D)
Analog Syn-Strings
(D)
Crescendo Strings
(D)
Warm Strings Pad
(D)
2 Vibrato Cello
(D)
String Quartette
(D)
Pizz Typewriter
(D) Strings Horn (D)
Strings ElecPiano
(D)
High-Strings Oboe
(D)
Cello-ViolaPiccolo
(D)
Bass-PianoStrings
(D)
3 Powerful Brass
(D)
Mute Trumpet
(W)
Westerly Brass
(D)
Flugel Horn
(W)
Eye Brasspad
(D)
Trumpetters
(D)
Pressure 5th Horns
(D)
Pianish Horns
(D)
4 Baritone Saxophone
(D)
Silver Saxophones
(D)
Saxcessive Tones
(D)
Synthesized Sax
(W)
Growl Saxophone
(D)
Sopranino Sax
(D)
Xarmonica
(W)
Happy Whistler
(D)
5 Breathy Flute
(D)
Bohemian
(D)
Recorder
(D)
Breeze Pipe
(D)
Flutes Ensemble
(D)
Woodwinds
(S)
Pipe Bags
(D)
Vibe n Clarinet
(S)
6 Heavy Metal Lead
(D)
Monophonic Lead
(D)
Pulse Lead
(W)
Squeeze Lead
(D)
Energetical Lead
(D)
Monotone Lead
(D)
Harmonics Lead
(D)
Metallic Lead
(D)
7 Jazz Organ
(D)
Huge Pipes
(D)
Velocity Rotor
(D)
Choral Organ
(D)
Click Organ
(D)
Solid Beat
(D)
Wavy Motion
(D)
Pressure Generator
(D)
8 Whispy Voice
(D)
Alpha Omega Ensemble
(D)
Voice n Sawz
(D)
4th Synth Voice
(D)
Husky Voices
(D)
Stereo Panorama
(D)
Voyageur
(D)
Glass Voice 2
(D)
Reverb type
01. Small Hall
02. Medium Hall
03. Large Hall
04. Chapel
05. Box
06. Small Metal Room
07. Small Room
08. Medium Room
09. Medium Large Room
10. Large Room
11. Single Delay (102 ms)
12. Cross Delay (180 ms)
13. Cross Delay (224 ms)
14. Cross Delay (148-296 ms)
15. Short Gate (200 ms)
16. Long Gate (480 ms)
17. Cross Delay (114 ms)
18. Cross Delay (165 ms)
19. Cross Delay (198 ms)
20. Cross Delay (240 ms)
21. Tap Delay (110-38 ms)
22. Tap Delay (50-180 ms)
23. Tap Delay (250-500 ms)
24 Pan Delay (250-500 ms)
25. Single Delay (136 ms)
26. Single Delay (205 ms)
27. Single Delay (270 ms)
28. Single Delay (355 ms)
29. Single Delay (430 ms)
30. Single Delay (500 ms)
31. Rolling (short)
32. Rolling (long)
28
Sound List
P6 (Preset 6:PN-D50-04)
No.1 2 3 4 5 6 7 8
BANK 1 Perc E-Piano
(D)
Ballad Piano Choir
(D)
New Age Piano
(D)
Xmod E-Piano
(W)
Vividly Piano
(D)
Air Piano
(D)
Honky-Tonk Piano
(D)
Antique harpsichord
(D)
2 Spanish Guitar
(D)
Ringmod E-Guitar
(D)
Gypsy Guitar
(D)
Rock Guitar
(D)
HarpStrings
(D)
Dulcimer Voice
(D)
Combie Clav
(D)
Stereo Clav
(D)
3 Toys in the Attic
(D)
Music Toybox
(D)
Bells Harmony
(D)
Star Chime
(D)
African Kalimba
(D)
Okinawa Session
(S)
Jamaican Sounds
(D)
India
(S)
4 Sweet Vibes
(D)
Clear Bell Pad
(W)
Marimbell
(D)
Venetian Cafe
(S)
Grand Canyon
(S)
Funky Bed Trax
(S)
Ohayashi
(S)
Koto-BambooFlute
(S)
5 Digital Atmosphere
(W)
Polyphonic Synth
(D)
Pad Combo
(D)
Attack-Reso Synth
(D)
Velo-Oct Pulse
(D)
Perc Release
(D)
Steam Synth Pad
(D)
Zean- - -
(D)
6 Hopper Bass
(D)
Electric Pick Bass
(D)
Octave Synth Bass
(D)
Natural Bass
(D)
Glide Bass
(D)
Funky Reso-Bass
(D)
Steelblue Bass
(D)
Funky Cutting
(S)
7 Soundtrack n Hold
(D)
Reso Release
(D)
Ballet Voices U-L
(D)
PressPan SamplHold
(D)
Twilight Zone
(D)
AfterBend-Panning
(D)
All Diminish Chord
(D)
Cosmo Voices
(D)
8 Marshy Zone
(D)
Dense Forest
(D)
F-1 Grand Prix
(D)
Passing Sky
(D)
Devildom
(S)
Haunted Bells
(D)
Vietnam FX
(S)
Big Waves
(D)
Reverb type
01. Small Hall
02. Medium Hall
03. Large Hall
04. Chapel
05. Box
06. Small Metal Room
07. Small Room
08. Medium Room
09. Medium Large Room
10. Large Room
11. Single Delay (102 ms)
12. Cross Delay (180 ms)
13. Cross Delay (224 ms)
14. Cross Delay (148-296 ms)
15. Short Gate (200 ms)
16. Long Gate (480 ms)
17. Small Hall
18. Medium Hall
19. Large Hall
20. Cave
21. Small Room
22. Medium Room
23. Large Room
24 Garage
25. Slap Back
26. Small Can
27. Metal Box
28. Medium Gate (320 ms)
29. Long Gate (430 ms)
30. Gate Reverse (370 ms)
31. Space
32. Flange Space
29
Sound List
Waveform
Oneshot Number Indication PCM Name
1 Marmba Marimba
2 Vibes Vibraphone
3 Xylo1 Xylophone 1
4 Xylo2 Xylophone 2
5 Log_Bs Log bass
6 Hammer Hammer
7 JpnDrm Japanese Drum
8 Kalmba Kalimba
9 Pluck Pluck 1
10 Chink Chink
11 Agogo Agogo
12 3angle Triangle
13 Bells Bells
14 Nails Nail File
15 Pick Pick
16 Lpiano Low Piano
17 Mpiano Mid Piano
18 Hpiano High Piano
19 Harpsi Harpsichord
20 Harp Harp
21 Orgprc Organ Percussion
22 Steel Steel Strings
23 Nylon Nylon Strings
24 Eguit1 Electric Guitar 1
25 Eguit2 Electric Guitar 2
26 Dirt Dirty Guitar
27 P_Bass Pick Bass
28 Pop Pop Bass
29 Thump Thump
30 Uprite Upright Bass
31 Clarnt Clarinet
32 Breath Breath
33 Steam Steamer
34 FluteH High Flute
35 FluteL Low Flute
36 Guiro Guiro
37 IndFlt Indian Flute
38 Harmo Flute Harmonics
39 Lips1 Lips 1
40 Lips2 Lips 2
41 Trumpt Trumpet
42 Bones Trombones
43 Contra Contrabass
44 Cello Cello
45 VioBow Violin bow
46 Violns Violins
47 Pizz Pizzicart
Loop Number Indication PCM Name
48 Drawbr Draw bars (Loop)
49 Horgan High Organ (Loop)
50 Lorgan Low Organ (Loop)
51 EP_lp1 Electric Piano (Loop 1)
52 EP_lp2 Electric Piano (Loop 2)
53 CLAVlp Clavi (Loop)
54 HC_lp Harpsichord (Loop)
55 EP_lp1 Electric Bass (Loop 1)
56 AB_lp Acoustic Bass (Loop)
57 EB_lp2 Electric Bass (Loop 2)
58 EB_lp3 Electric Bass (Loop 3)
59 EG_lp Electric Guitar (Loop)
60 CELLlp CELLlp (Loop)
61 VIOLlp Violin (Loop)
62 Reedlp Lead (Loop)
63 SAXip1 Sax (Loop 1)
64 SAXlp2 Sax (Loop 2)
65 Aah_lp Aah (Loop)
66 Ooh_lp Ooh (Loop)
67 Manlp1 Male (Loop 1)
68 Spect1 Spectrum 1 (Loop)
69 Spect2 Spectrum 2 (Loop)
70 Spect3 Spectrum 3 (Loop)
71 Spect4 Spectrum 4 (Loop)
72 Spect5 Spectrum 5 (Loop)
73 Spect6 Spectrum 6 (Loop)
74 Spect7 Spectrum 7 (Loop)
75 Manlp2 Male (Loop 2)
76 Noise Noise (Loop)
Loop (Some of the sounds 1 to 76, are combined and looped.)
Number Indication
77 Loop01
78 Loop02
79 Loop03
80 Loop04
81 Loop05
82 Loop06
83 Loop07
84 Loop08
85 Loop09
86 Loop10
87 Loop11
88 Loop12
89 Loop13
90 Loop14
91 Loop15
92 Loop16
93 Loop17
94 Loop18
95 Loop19
96 Loop20
30
Sound List
Number Indication
97 Loop21
98 Loop22
99 Loop23
100 Loop24
31
Parameter List
Patch Factors
Settings Common to All Screens (PATCH TOP) (p. 2)
KEY MODE Key Mode WHOLE, DUAL, SPLIT, SEP, WHOL-S, DUAL-S, SPL-US, SPL-LS, SEP-S
SPLIT Split Point C2C7
BALANCE Tone Balance 0100
TRANSPOSE Transpose -36+36
Chase Switch Chase Switch OFF, ON
Portamento Switch Portamento Switch OFF, ON
CONTROL (p. 3)
Bend Bender Range 012
AfterPB Aftertouch Bend Range -12+12
Hold Hold Mode U, L, UL
Time Portamento Time 0100
Mode Portamento Mode U, L, UL
OUTPUT (p. 4)
Mode Output Mode 14
RevType Reverb Type 132
Revbal Reverb Balance 0100
Vol Total Volume 0100
CHASE (p. 4)
Mode Chase Mode UL, ULL, ULU
Level Chase Level 0100
Time Chase Time 0100
TONE TUNE (p. 5)
LKey L-Tone Key Shift -24+24
UKey U-Tone Key Shift -24+24
LTun L-Tone Fine Tune -50+50
UTun U-Tone Fine Tune -50+50
MIDI (p. 5)
TxCH Transmit CH B, 116
TxPC Transmit Program Change Off, 1100
SepCH Separate Mode Receive CH Off, 116
Tone Parameters
Common Parameters
Struct (p. 8)
Structure Struct Structure 17
P-ENV (p. 8)
P. ENV Velo Velocity Range 02
TKF Time Keyfollow 04
P-ENV Time
T1 Time1 050
T2 Time2 050
T3 Time3 050
T4 Time4 050
P-ENV Level
L0 Level0 -500+50
L1 Level1 -50+50
L2 Level2 -50+50
SusL Sustain Level -50+50
EndL End Level -50+50
Pitch Mod
LFOD LFO Depth 0100
Lever Pitch Lever Modulation 0100
Aftr Pitch Aftertouch Modulation 0100
LFO (p. 9)
LFO-1
Wave Waveform TRI, SAW, SQU, RND
Rate Rate 0100
Delay Delay Time 0100
Sync Sync. Off, On, KEY
LFO-2
Wave Waveform TRI, SAW, SQU, RND
Rate Rate 0100
Delay Delay Time 0100
Sync Sync. Off, On
LFO-3
Wave Waveform TRI, SAW, SQU, RND
Rate Rate 0100
Delay Delay Time 0100
Sync Sync. Off, On
EQ (p. 10)
EQ
LowFreq Low Frequency
63, 75, 88, 105, 125, 150, 175, 210, 250, 300, 350, 420, 500, 600, 700, 840
LowGain Low Gain -12+12
HiFreq High Frequency
250, 300, 350, 420, 500, 600, 700, 840, 1.0, 1.2, 1.4, 1.7, 2.0, 2.4, 2.8, 3.4, 4.0, 4.8, 5.7, 6.7, 8.0, 9.5
HiQ High Q 0.3, 0.5, 0.7, 1.0, 1.4, 2.0, 3.0, 4.2, 6.0
HiGain High Gain -12+12
32
Parameter List
Chorus
Type Chorus Type 18
Rate Chorus Rate 0100
Depth Chorus Depth 0100
Balance Chorus Balance 0100
Partial Parameters
FORM (p. 12)
WG Form Wave Waveform SQU, SAW
PCM PCM Wave No. 1100
WG PW
PW Pulse Width 0100
Velo Velocity Range -7+7
After Aftertouch Range -7+7
LFO LFO Select +1, -1, +2, -2, +3, -3
LFOD LFO Depth 0100
PITCH (p. 11)
WG Pitch
Coars Coarse C1C7
Fine Fine -50+50
KF Keyfollow
-1, -1/2, -1/4, 0, 1/8, 1/4, 3/8, 1/2, 5/8, 3/4, 7/8, 1, 5/4, 3/2, 2, s1, s2
WG Mod
LFO LFO Mode Off, (+), (-), A&L
ENV P-ENV Mode Off, (+), (-)
Bend Bender Mode Off, KEY, Norm
TVF (p. 13)
TVF
Freq Cutoff Frequency 0100
Reso Resonance 030
KF Keyfollow -1, -1/2, -1/4, 0, 1/8, 1/4, 3/8, 1/2, 5/8, 3/4, 7/8, 1, 5/4, 3/2, 2
BP Bias Point/Bias Direction
>A1 >C7
BLevel Bias Level -7+7
TVF ENV
Depth Depth 0100
Velo Velocity Range 0100
DKF Depth Keyfollow 04
TKF Time Keyfollow 04
TVF ENV Time
T1 Time1 0100
T2 Time2 0100
T3 Time3 0100
T4 Time4 0100
T5 Time5 0100
TVF ENV Level
L1 Level1 0100
L2 Level2 0100
L3 Level3 0100
SusL Sustain Level 0100
EndL End Level 0, 100
TVA (p. 15)
TVA
Level Level 0100
Velo Velocity Range -50+50
BP Bias Point/Bias Direction
>A1 >C7
BLevel Bias Level -120
TVA ENV Velo Velocity Follow 04
TKF Time Keyfollow 04
TVA ENV Time
T1 Time1 0100
T2 Time2 0100
T3 Time3 0100
T4 Time4 0100
T5 Time5 0100
TVA ENV Level
L1 Level1 0100
L2 Level2 0100
L3 Level3 0100
SusL Sustain Level 0100
EndL End Level 0, 100
MOD (p. 15, p. 17)
TVF MOD
LFO LFO Select +1, -1, +2, -2, +3, -3
LFOD LFO Depth 0100
After Aftertouch Range -7+7
TVA MOD
LFO LFO Select +1, -1, +2, -2, +3, -3
LFOD LFO Depth 0100
After Aftertouch Range -7+7
System Parameters
Function (Function screen)
MastTune (Master Tune) Specifies the reference pitch.
Protect Turns memory protect on/off.
AutoOff Enables automatic power-off when a certain length of time has elapsed since the unit was last played or operated.
Demo Specifies the time (minutes) until the LED demo begins.
If this is OFF, the demo is disabled.
LCDCont (LCD Contrast) Adjusts the contrast of the display.
SndMode (Sound Mode)
Original
This mode simulates the sound engine of the D-50.
Clear
This mode uses digital processing that is more accurate than on the D-50, delivering clear sound.
C1Scale Specifies a note scale type for the ribbon controller (C1).
C2Hold Turns on/off the hold function of the ribbon controller (C2).
33
MIDI Implementation Model: D-05
Date: Sep. 09, 2017
Version: 1.00
1. Data Transmission
9 Channel Voice Messages
7 Note off Status 2nd byte 3rd byte
8nH kkH vvH
n = MIDI channel number: 0H - FH (ch.1 - 16)
kk = note number: 00H - 7FH (0 - 127)
vv = note off velocity: 00H - 7FH (0 - 127)
7 Note on Status 2nd byte 3rd byte
9nH kkH v vH
n = MIDI channel number: 0H - FH (ch.1 - 16)
kk = note number: 00H - 7FH (0 - 127)
vv = note on velocity: 01H - 7FH (1 - 127)
7 Control Change
6 Bank Select (Controller number 0, 32)
Status 2nd byte 3rd byte
BnH 00H mmH
BnH 20H llH
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm, ll = Bank number: 00 00H - 7F 7FH (bank.1 - bank.16384)
* The Patches corresponding to each Bank Select are as follows.
BANK SELECT USER/PRESET BANK
PROGRAM NUMBER
PATCH NUMBERMSB LSB
087
000 U1 164 1188
001 U2 164 1188
002 U3 164 1188
003 U4 164 1188
004 U5 164 1188
005 U6 164 1188
006 U7 164 1188
007 U8 164 1188
008 P1 164 1188
009 P2 164 1188
010 P3 164 1188
011 P4 164 1188
012 P5 164 1188
013 P6 164 1188
6 Modulation (Controller number 1)
Status 2nd byte 3rd byte
BnH 01H vvH
n = MIDI channel number: 0H - FH (ch.1 - 16)
vv = Modulation depth: 00H - 7FH (0 - 127)
6 Volume (Controller number 7)
Status 2nd byte 3rd byte
BnH 07H vvH
n = MIDI channel number: 0H - FH (ch.1 - 16)
vv = Volume: 00H - 7FH (0 - 127)
6 Hold 1 (Controller number 64)
Status 2nd byte 3rd byte
BnH 40H vvH
n = MIDI channel number: 0H - FH (ch.1 - ch.16)
vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
6 Portamento Switch (Controller number 65)
Status 2nd byte 3rd byte
BnH 41H vvH
n = MIDI channel number: 0H - FH (ch.1 - ch.16)
vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
7 Program change Status 2nd byte
CnH ppH
n = MIDI channel number: 0H - FH (ch.1 - ch.16)
pp = Program number: 00H - 3FH (prog.1 - prog.64)
* Not transmitted when Program Change Switch (SYSTEM MIDI) is OFF.
7 Channel Aftertouch Status 2nd byte
DnH vvH
n = MIDI channel number: 0H - FH (ch.1 - ch.16)
vv = Aftertouch Value: 00H - 7FH (0 - 127)
7 Pitch Bender Change Status 2nd byte 3rd byte
EnH llH mmH
n = MIDI channel number: 0H - FH (ch.1 - ch.16)
mm, ll = Pitch Bender value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
9 Channel Mode Messages
7 All Sounds Off (Controller number 120)
Status 2nd byte 3rd byte
BnH 78H 00H
n = MIDI channel number: 0H - FH (ch.1 - ch.16)
7 Reset All Controllers (Controller number 121)
Status 2nd byte 3rd byte
BnH 79H 00H
n = MIDI channel number: 0H - FH (ch.1 - ch.16)
7 OMNI OFF (Controller number 124)
Status 2nd byte 3rd byte
BnH 7CH 00H
n = MIDI channel number: 0H - FH (ch.1 - ch.16)
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MIDI Implementation
7 POLY (Controller number 127)
Status 2nd byte 3rd byte
BnH 7FH 00H
n = MIDI channel number: 0H - FH (ch.1 - ch.16)
9 System Realtime Messages
7 Active Sensing Status
FEH
* This message is transmitted at intervals of approximately 250 msec.
7 System Exclusive Messages Status
F0H :System Exclusive
F7H : EOX (End of Exclusive)
Transmitted in the following three cases.
1. When Operating Bulk-Dump
2. If Exclusive of System MIDI is P-Dump, this unit transmits all parameters in the patch when the patch is changed.
3. If Exclusive of System MIDI is TxEdit, this unit transmits the parameter when the parameter is edited.
Refer to Section 3 to see details.
2. Receive data
9 Channel Voice Messages
7 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 - 7FH (0 - 127)
vv = note off velocity: 00H - 7FH (0 - 127)
7 Note on Status 2nd byte 3rd byte
9nH kkH vvH
n = MIDI channel number: 0H - FH (ch.1 - 16)
kk = note number: 00H - 7FH (0 - 127)
vv = note on velocity: 01H - 7FH (1 - 127)
7 Control Change
6 Bank Select (Controller number 0, 32)
Status 2nd byte 3rd byte
BnH 00H mmH
BnH 20H llH
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm, ll = Bank number: 00 00H - 7F 7FH (bank.1 - bank.16384)
* The Patches corresponding to each Bank Select are as follows.
BANK SELECT USER/PRESET BANK
PROGRAM NUMBER
PATCH NUMBERMSB LSB
087
000 U1 164 1188
001 U2 164 1188
002 U3 164 1188
003 U4 164 1188
004 U5 164 1188
005 U6 164 1188
006 U7 164 1188
007 U8 164 1188
008 P1 164 1188
009 P2 164 1188
010 P3 164 1188
011 P4 164 1188
012 P5 164 1188
013 P6 164 1188
6 Modulation (Controller number 1)
Status 2nd byte 3rd byte
BnH 01H vvH
n = MIDI channel number: 0H - FH (ch.1 - 16)
vv = Modulation depth: 00H - 7FH (0 - 127)
6 Portamento Time (Controller number 5)
Status 2nd byte 3rd byte
BnH 05H vvH
n = MIDI channel number: 0H - FH (ch.1 - 16)
vv = Portamento Time: 00H - 7FH (0 - 127)
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MIDI Implementation
6 Data Entry (Controller number 6, 38)
Status 2nd byte 3rd byte
BnH 06H mmH
BnH 26H llH
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm, ll = the value of the parameter specified by RPN/NRPN
mm = MSB, ll = LSB
6 Volume (Controller number 7)
Status 2nd byte 3rd byte
BnH 07H vvH
n = MIDI channel number: 0H - FH (ch.1 - 16)
vv = Volume: 00H - 7FH (0 - 127)
6 Hold 1 (Controller number 64)
Status 2nd byte 3rd byte
BnH 40H vvH
n = MIDI channel number: 0H - FH (ch.1 - 16)
vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
6 Portamento Switch (Controller number 65)
Status 2nd byte 3rd byte
BnH 41H vvH
n = MIDI channel number: 0H - FH (ch.1 - 16)
vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
6 RPN MSB/LSB (Controller number 100, 101)
Status 2nd byte 3rd byte
BnH 65H mmH
BnH 64H llH
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm = upper byte (MSB) of parameter number specified by RPN
ll = lower byte (LSB) of parameter number specified by RPN
<<< RPN >>>
Control Changes include RPN (Registered Parameter Numbers), which are extended.
When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any order) should be sent in order to select the parameter, then Data Entry (Controller numbers 6 and 38) should be sent to set the value.
This device receives the following RPNs.
RPN Data entry
MSB, LSB MSB, LSB Notes
00H, 00H mmH, llH Pitch Bender Range mm: 00H - 0CH (0 - 12 semitones) ll: ignored (processed as 00H) Up to 1 octave can be specified in semitone steps.
00H, 01H mmH, llH Fine Tuning mm, ll: 00 00H - 40 00H - 7F 7FH ( -50 - 0 - +50 cent)
7 Program change Status 2nd byte
CnH ppH
n = MIDI channel number: 0H - FH (ch.1 - 16)
pp = Program number: 00H - 3FH (prog.1 - prog.64)
* Not received when the Program Change Switch (SYSTEM MIDI) is OFF.
7 Channel Aftertouch Status 2nd byte
DnH vvH
n = MIDI channel number: 0H - FH (ch.1 - 16)
vv = Aftertouch Value: 00H - 7FH (0 - 127)
7 Pitch Bender Change Status 2nd byte 3rd byte
EnH llH mmH
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm, ll = Pitch Bender value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
9 Channel Mode Messages
7 All Sounds Off (Controller number 120)
Status 2nd byte 3rd byte
BnH 78H 00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
* When this message is received, all notes currently sounding on the corresponding channel will be turned off.
7 Reset All Controllers (Controller number 121)
Status 2nd byte 3rd byte
BnH 79H 00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
* When this message is received, all controllers on the corresponding channel will be set to their reset values.
7 MONO (Controller number 126)
Status 2nd byte 3rd byte
BnH 7EH mmH
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm = mono number: 00H - 10H (0 - 16)
MONO mode, each message is recognized on the channel shown below.
mm Channel range that is specified
0 8
1-8 1-8
9-16 8
17 or higher Ignored
If mono mode is detected, each type of message is recognized on the channels shown below, according to the SYSTEM MIDI Control setting.
Message Control in MIDI function
B.CH G.CH Note on/off individual
Control Change basic Global
Mode Message basic Global
Program Change basic Global
Aftertouch basic Global
Pitch Bender Change individual
Exclusive basic Global
Basic refers to the basic channel specified by the SYSTEM MIDI MIDI CH setting; global refers to the MIDI channel that is numbered one below the basic channel. However, if the basic channel is 1, the global channel will be 16.
7 POLY (Controller number 127)
Status 2nd byte 3rd byte
BnH 7FH 00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
* These Mode Messages (2nd byte = 123-127) are also recognized as All Sounds Off and Reset All Controllers.
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MIDI Implementation
9 System Realtime Message
7 Active Sensing Status
FEH
* When Active Sensing is received, the unit will begin monitoring the intervals of all further mes- sages. While monitoring, if the interval between messages exceeds 300 ms, the same processing will be carried out as when All Notes Off are received, and message interval monitoring will be halted.
7 System Exclusive Message Status
F0H : System Exclusive
F7H : EOX (End of Exclusive)
* Exclusive message can change either each parameter individually or all parameters, of a patch or tone.
* Refer to Section 3 to see details.
3. Exclusive Communication
9 3.1 Message Format Rolands exclusive format (type IV) messages all have the following structure.
Byte Explanation
F0H Exclusive status
41H Roland ID
DEV Device-ID
MDL Model-ID
CMD Command-ID
[BODY] Data
F7H EOX (End Of Exclusive)
7 MIDI status (F0H), (F7H) Exclusive messages are enclosed between two status bytes; a maker ID is required after the F0H status byte.
7 Maker ID (41H) This is Rolands ID. The maker ID specifies the manufacturer whose exclusive message this is.
7 Device ID DEV This distinguishes between multiple devices. Normally, this will be a value that is one less than the basic channel (00H-0FH), but in the case of a device that has multiple basic channels, it may also be specified as (00H-1FH).
7 Model ID MDL This has a fixed value for each model. However, if the same data is used by differing models, the same value is used. For expansion, (00H) is used; the number of (00H) is also used to differentiate various things.
For example,
(01H), (02H), (03H), (00H, 01H), (00H, 02H), (00H, 00H, 01H)
each indicate different models.
7 Command ID CMD This indicates the role of the message.
For expansion, (OOH) is used; the number of (OOH) is also used to differentiate various things.
For example,
(01H), (02H), (03H), (00H, 01H), (00H, 02H), (00H, 00H, 01H)
each indicate different roles.
7 Data body [BODY] This is the actual body of data that is transmitted or received. The size and content differ depending on the model ID and command ID.
9 3.2 Data Transfer Using Address Mapping Address mapping is the method in which data is transferred according to the format described in section 3.1. With this method, waveform data, sound data, switch information, and parameters are assigned to the address space specified for each model, so that various types of data can be transferred by specifying its address.
This means that the data transfer method does not differ depending on the model or the type of data. There are two methods of transferring the data: one-way and handshake.
Depending on the model and on the type of data, one or another of the two methods is used, or in some cases only one method is possible.
7 One-way method (see 3.3) This method is suitable for transferring relatively small amounts of data; it transfers data by unilaterally transmitting an exclusive message.
Connection diagram
Device A
MIDI OUT
MIDI IN
MIDI IN
MIDI OUT
Device B 1
2
If data request (see 3) is used, connection 2 is required.
7 Handshake method (see 3.4) This method transfers data using bi-directional verification (handshaking) between the transmitting and receiving devices. When transferring large amounts of data, this method provides high reliability and faster transfer.
Connection diagram
Device A
MIDI OUT
MIDI IN
MIDI IN
MIDI OUT
Device B 1
2
Both connections 1 and 2 are required.
Regarding the above two methods
* The command ID is fixed according to the transfer method.
* Data transfer cannot occur unless both device [A] and device [B] use the same method, are both in a state that allows them to transfer data, and are both set to matching device ID and model ID.
9 3.3 Transferring Data Using the One-Way Method
When transferring relatively small amount of data, this method transmits the data unilaterally without checking each message. However, when consecutively sending large amount of data, an appropriate interval of time (at least 20 msec) is inserted between transmissions. This method requires that the receiving device be able to correctly receive the data within that time.
Types of message
Byte Explanation
Request data 1 RQ1 (11H)
Data set DT1 (12H)
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MIDI Implementation
7 Request data 1 RQ1 (11H) Transmit this when you want the other device to send you data. The address and size indicate the size of data that is requested.
If this message is received, and if that device is able to transmit data, and the address and size are appropriate, the requested data is sent as a data reset message. If these conditions are not met, nothing is sent.
Byte Explanation
F0H Exclusive status
41H Roland ID
DEV Device-ID
14H Model-ID (D-50)
11H Command-ID
aaH Address MSB
LSB
ssH Size MSB
LSB
sum Check Sum
F7H EOX (End Of Exclusive)
* The size indicates the address of the entire data that is being requested; it is not the number of bytes of data in a single data set 1 message.
* For each model, the amount of data that can be transmitted at one time is fixed depending on the type of data, and in some cases the data must be transmitted and received in divisions of the specified address.
* The address and size are the same numbers of bytes, and are determined for each model ID.
* The check sum is the value that causes the lower seven bits to be zero when the address, the size, and the check sum itself are added.
7 Data set 1 DT1 (12H) This transmits the actual data.
Although each individual byte of data has an address, this message allows the address of a single item of data, or the starting address of multiple items of data, together with the data alone, to be transmitted in the order of the addresses.
According to the MIDI specification, messages other than realtime messages cannot interrupt an exclusive message. In consideration of devices that implement soft-thru, Roland limits the amount of data that is transferred in a single data set 1 to a maximum of 256 bytes; for this reason, large amount of data that exceed 256 bytes are divided and transmitted in multiple pieces.
Byte Explanation
F0H Exclusive status
41H Roland ID
DEV Device-ID
14H Model-ID (D-50)
12H Command-ID
aaH Address MSB
LSB
ssH Data
sum Check Sum
F7H EOX (End Of Exclusive)
* This message allows transfer of just the valid portion within the range indicated by the data request 1 message.
* For each model, the number of data items that can be transmitted at once is determined accord- ing to the type of data, and in some cases, these must be transmitted or received at divisions of the specified address.
* The number of address bytes is determined for each model ID.
* The check sum is the value that causes the lower seven bits to be zero when the address, the size, and the check sum itself are added.
7 Example of transmission and reception
6 When device (A) transfers data to device (B)
Simply transmit a data set 1 message.
Device A Device B
Data set 1
Data set 1
Data set 1
* Make a time interval of 20 msec or more
6 When device (B) requests data transmission from device (A)
First a data request 1 message is transmitted. Then, device (A) transmits a data set 1 message.
Device A Device B
Data set 1
Request data
Data set 1
Data set 1
* Make a time interval of 20 msec or more
9 3.4 Transferring Data Using the Handshake Method
The handshake method transfers data while performing bi-directional verification between the two devices. Since data is transferred while checking whether it was transferred correctly, it is highly reliable, and since data is transmitted successively as soon as the receiving device is ready, data transfer takes a shorter time than the one-way method which involves waiting for an interval of time.
When transferring a large amount of MIDI data, such as sampler waveform data or data for all sounds of a synthesizer, the handshake method is more appropriate than the one-way method.
Types of message
Byte Explanation
Want to send data WSD (40H)
Request data RQD (41H)
Data set DAT (42H)
Acknowiedge ACK (43H)
End of data EOD (45H)
Communication error ERR (4EH)
Rejection RJC (4FH)
7 Want to send data WSD (40H) Transmit this when you want to send data to the other device. The address and size indicate the amount of data that you want to send.
If this message is received, and if that device is able to receive data, and the address and size are appropriate, then it transmits an acknowledge message. If not, the device transmits a rejection message.
Byte Explanation
F0H Exclusive status
41H Roland ID
DEV Device-ID
14H Model-ID (D-50)
40H Command-ID
aaH Address MSB
LSB
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MIDI Implementation
Byte Explanation
ssH Size MSB
LSB
sum Check Sum
F7H EOX (End Of Exclusive)
* The size indicates the address range of the entire data that is being requested; it is not the number of bytes of data in a single data set message.
* For some models, the amount of data that can be transmitted at one time might be fixed depending on the type of data, and in some cases the data must be transmitted and received in specific divisions or divided by addresses.
* The address and size are the same number of bytes, and are determined for each model ID.
* The check sum is the value that causes the lower seven bits to be zero when the address, the size, and the check sum itself are added.
7 Request data RQD (41H) This is transmitted when requesting the other device to transmit data. The address and size indicate the data and the amount being requested.
If this message is received, and if that device is in a condition of being able to transmit data, and if the address and size are appropriate, then it transmits the requested data as a data set message. If not, the device transmits a rejection message.
Byte Explanation
F0H Exclusive status
41H Roland ID
DEV Device-ID
14H Model-ID (D-50)
41H Command-ID
aaH Address MSB
LSB
ssH Size MSB
LSB
sum Check Sum
F7H EOX (End Of Exclusive)
* The size indicates the address range of the entire data that is being requested; it is not the number of bytes of data in a single data set message.
* For each model, the amount of data that can be transmitted at one time might be fixed depending on the type of data, and in some cases the data must be transmitted and received in divisions of specific addresses.
* The address and size are the same number of bytes, and are determined for each model ID.
* The check sum is the value that causes the lower seven bits to be zero when the address, the size, and the check sum itself are added.
7 Data set DAT (42H) This transfers the actual data.
Although each byte of the data has an address, this message allows the address of a single item of data, or the starting address of multiple items of data, together with the data along, to be transmitted in the order of the addresses.
According to the MIDI specification, messages other than realtime messages cannot interrupt an exclusive message. In consideration of devices that implement soft-thru, Roland limits the amount of data that is transferred in a single data set to a maximum of 256 bytes; for this reason, large amount of data that exceed 256 bytes are divided and transmitted in multiple pieces.
Byte Explanation
F0H Exclusive status
41H Roland ID
DEV Device-ID
14H Model-ID (D-50)
42H Command-ID
aaH Address MSB
LSB
ssH Data
Byte Explanation
sum Check Sum
F7H EOX (End Of Exclusive)
* This message allows transfer of just the valid portion within the range indicated by the data request or data transmission request message.
* For each model, the number of data items that can be transmitted at once might be determined according to the type of data, or might have to be transmitted and received at divisions of the specified address.
* The number of address bytes is determined for each model ID.
* The check sum is the value that causes the lower seven bits to be zero when the address, the size, and the check sum itself are added.
7 Acknowledge ACK (43H) This message is transmitted when a message such as data transmit/receive request, data set, or data end was received, and that message was correctly received and the corresponding preparations or processing were completed. After the other device receives this message, it proceeds to the next operation.
Byte Explanation
F0H Exclusive status
41H Roland ID
DEV Device-ID
14H Model-ID (D-50)
43H Command-ID
7FH EOX (End Of Exclusive)
7 End of data EOD (45H) This message is transmitted in order to inform the other device that the data has ended. After this message, an acknowledge message is received from the other device, and then transfer ends.
Byte Explanation
F0H Exclusive status
41H Roland ID
DEV Device-ID
14H Model-ID (D-50)
45H Command-ID
7FH EOX (End Of Exclusive)
7 Communication error ERR (4EH) If the message could not be received correctly, such as if check sum value does not match, then this message is transmitted to inform the other device of the error. However, it is also permissible to end communication by transmitting a rejection message instead of this message.
If this message is received, the last-transmitted message may be retransmitted once again, or a rejection message may be transmitted to end communication.
Byte Explanation
F0H Exclusive status
41H Roland ID
DEV Device-ID
14H Model-ID (D-50)
4EH Command-ID
7FH EOX (End Of Exclusive)
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MIDI Implementation
7 Rejection RJC (4FH) This message is transmitted if you wish to forcibly end communication for some reason. This message could be transmitted in the following cases.
5 If the size and address value indicated in a data transmit/receive request or data request was inappropriate, or if the device is not in a state in which it can transmit or receive data
5 If the address or number of the data that was transmitted is inappropriate
5 If data transmission/reception was stopped by a panel operation, etc.
5 If a communication error occurred
This message can be transmitted at any time by either device, and the device that receives it must immediately stop communication.
Byte Explanation
F0H Exclusive status
41H Roland ID
DEV Device-ID
14H Model-ID (D-50)
4FH Command-ID
7FH EOX (End Of Exclusive)
7 Example of the transmitting device When device (A) transfers data to device (B)
Device A Device B
Data set
Want to send data Acknowiedge
Acknowiedge
Acknowiedge
Acknowiedge
Data set
End of data
When device (A) requests data transmission from device (B)
Device A Device B
Acknowiedge
Request data Data set
Data set
End of data Acknowiedge
Acknowiedge
When an error occurs while device (A) is receiving data from device (B)
1 When requesting retransmission of data from device (B)
Device A Device B
Acknowiedge
Acknowiedge
Data set
Data set
Data set (same as above)
Communication error (error occurs) x
2 When device (B) rejects data retransmission, and terminate communication
Device A Device B
Acknowiedge
(terminate)
Data set
Data set
Rejection Communication error
(error occurs) x
3 When device (A) terminates immediately
Device A Device B
Acknowiedge Data set
Data set (terminate)Rejection
(error occurs) x
9 3.5 Address mapping
7 Temporary area Address Description
[00-00-00] Upper Partial-1 temp-area
[00-00-40] Upper Partial-2 temp-area
[00-01-00] Upper Common temp-area
[00-01-40] Lower Partial-1 temp-area
[00-02-00] Lower Partial-2 temp-area
[00-02-40] Lower Common temp-area
[00-03-00] Patch temp-area
7 Work area The data in the bank of the currently selected patch can be transmitted and received using the following addresses.
Address Description
[02-00-00] Patch Memory 1-1
[02-03-40] Patch Memory 1-2
: :
[03-5C-40] Patch Memory 8-8
[03-60-00] Reverb Data 17
[03-62-78] Reverb Data 18
: :
[04-0C-08] Reverb Data 32
Each patch memory has the following structure.
Offset Description
[00-00-00] Upper Partial-1
[00-00-40] Upper Partial-2
[00-01-00] Upper Common
[00-01-40] Lower Partial-1
[00-02-00] Lower Partial-2
[00-02-40] Lower Common
[00-03-00] Patch
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MIDI Implementation
9 3.6 Partial Parameter
Offset Address Description
00H 0vvv vvvv WG Pitch Coarse 0-72 C1, C#1...C7
01H 0vvv vvvv WG Pitch Fine 0-100 -50..0..+50
02H 0vvv vvvv WG Pitch Keyfollow 0-16 -1, -1/2, -1/4, 0, 1/8, 1/4, 3/8, 1/2, 5/8, 3/4, 7/8, 1, 5/4, 3/2, 2, s1, s2
03H 0vvv vvvv WG Modulation LFO Mode 0-3 Off, (+), (-), A&L
04H 0vvv vvvv WG Modulation P-ENV Mode 0-2 Off, (+), (-)
05H 0vvv vvvv WG Modulation Bender Mode 0-2 Off, Keyfollow, Normal
06H 0vvv vvvv WG Waveform Waveform 0-1 Square, Sawtooth
07H 0vvv vvvv WG Waveform PCM Wave No. 0-99 1..100
08H 0vvv vvvv WG Pulse Width 0-100 0..100
09H 0vvv vvvv WG Pulse Width Velocity Range 0-14 -7..0..+7
0AH 0vvv vvvv WG Pulse Width LFO Select 0-5 +1, -1, +2, -2, +3, -3
0BH 0vvv vvvv WG Pulse Width LFO Depth 0-100 0..100
0CH 0vvv vvvv WG Pulse Width Aftertouch Range 0-14 -7..0..+7
0DH 0vvv vvvv TVF Cutoff Frequency 0-100 0..100
0EH 0vvv vvvv TVF Resonance 0-30 0..30
0FH 0vvv vvvv TVF Keyfollow 0-14 -1, -1/2, -1/4, 0, 1/8, 1/4, 3/8, 1/2, 5/8, 3/4, 7/8, 1, 5/4, 3/2, 2
10H 0vvv vvvv TVF Bias Point/Bias Direction 0-63,64-127
11H 0vvv vvvv TVF Bias Level 0-14 -7..0..+7
12H 0vvv vvvv TVF ENV Depth 0-100 0..100
13H 0vvv vvvv TVF ENV Velocity Range 0-100 0..100
14H 0vvv vvvv TVF ENV Depth Keyfollow 0-4 0..4
15H 0vvv vvvv TVF ENV Time Keyfollow 0-4 0..4
16H 0vvv vvvv TVF ENV Time 1 0-100 0..100
17H 0vvv vvvv TVF ENV Time 2 0-100 0..100
18H 0vvv vvvv TVF ENV Time 3 0-100 0..100
19H 0vvv vvvv TVF ENV Time 4 0-100 0..100
1AH 0vvv vvvv TVF ENV Time 5 0-100 0..100
1BH 0vvv vvvv TVF ENV Level 1 0-100 0..100
1CH 0vvv vvvv TVF ENV Level 2 0-100 0..100
1DH 0vvv vvvv TVF ENV Level 3 0-100 0..100
1EH 0vvv vvvv TVF ENV Sustain Level 0-100 0..100
1FH 0vvv vvvv TVF ENV End Level 0-1 0, 100
20H 0vvv vvvv TVF Modulation LFO Select 0-5 +1, -1, +2, -2, +3, -3
21H 0vvv vvvv TVF Modulation LFO Depth 0-100 0..100
22H 0vvv vvvv TVF Modulation Aftertouch Range 0-14 -7..0..+7
23H 0vvv vvvv TVA Level 0-100 0..100
24H 0vvv vvvv TVA Velocity Range 0-100 -50..0..+50
25H 0vvv vvvv TVA Bias Point/Bias Direction 0-63,64-127
26H 0vvv vvvv TVA Bias Level 0-12 -12..0
27H 0vvv vvvv TVA ENV Time 1 0-100 0..100
28H 0vvv vvvv TVA ENV Time 2 0-100 0..100
29H 0vvv vvvv TVA ENV Time 3 0-100 0..100
2AH 0vvv vvvv TVA ENV Time 4 0-100 0..100
2BH 0vvv vvvv TVA ENV Time 5 0-100 0..100
2CH 0vvv vvvv TVA ENV Level 1 0-100 0..100
2DH 0vvv vvvv TVA ENV Level 2 0-100 0..100
2EH 0vvv vvvv TVA ENV Level 3 0-100 0..100
2FH 0vvv vvvv TVA ENV Sustain Level 0-100 0..100
30H 0vvv vvvv TVA ENV End Level 0-1 0, 100
31H 0vvv vvvv TVA ENV Velocoty Follow 0-4 0..4
32H 0vvv vvvv TVA ENV Time Keyfollow 0-4 0..4
33H 0vvv vvvv TVA Modulation LFO Select 0-5 +1, -1, +2, -2, +3, -3
34H 0vvv vvvv TVA Modulation LFO Depth 0-100 0..100
35H 0vvv vvvv TVA Modulation Aftertouch Range 0-14 -7..0..+7
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MIDI Implementation
Offset Address Description
36H 0vvv vvvv Extension 0-127
: : : :
3FH 0vvv vvvv Extension 0-127
9 3.7 Common Parameter
Offset Address Description
00H 0vvv vvvv Tone Name 1 0-63 , A - Z, a - z, 1 - 9, 0, -
: : : : : :
: : : : : :
09H 0vvv vvvv Tone Name 10 0-63
0AH 0vvv vvvv Structure No. 0-6 1..7
0BH 0vvv vvvv P-ENV Edit Velocity Range 0-2 0..2
0CH 0vvv vvvv P-ENV Edit Time Keyfollow 0-4 0..4
0DH 0vvv vvvv P-ENV Time Edit 1 0-50 0..50
0EH 0vvv vvvv P-ENV Time Edit 2 0-50 0..50
0FH 0vvv vvvv P-ENV Time Edit 3 0-50 0..50
10H 0vvv vvvv P-ENV Time Edit 4 0-50 0..50
11H 0vvv vvvv P-ENV Level Edit 0 0-100 -50..0..+50
12H 0vvv vvvv P-ENV Level Edit 1 0-100 -50..0..+50
13H 0vvv vvvv P-ENV Level Edit 2 0-100 -50..0..+50
14H 0vvv vvvv P-ENV Edit Sustain Level 0-100 -50..0..+50
15H 0vvv vvvv P-ENV Edit End Level 0-100 -50..0..+50
16H 0vvv vvvv Pitch Mod Edit LFO Depth 0-100 0..100
17H 0vvv vvvv Pitch Mod Edit Pitch Lever Modulation 0-100 0..100
18H 0vvv vvvv Pitch Mod Edit Pitch Aftertouch Modulation 0-100 0..100
19H 0vvv vvvv LFO-1 Waveform 0-3 Triangle, Sawtooth, Square, Random
1AH 0vvv vvvv LFO-1 Rate 0-100 0..100
1BH 0vvv vvvv LFO-1 Delay Time 0-100 0..100
1CH 0vvv vvvv LFO-1 Sync. 0-2 Off, On, Key
1DH 0vvv vvvv LFO-2 Waveform 0-3 Triangle, Sawtooth, Square, Random
1EH 0vvv vvvv LFO-2 Rate 0-100 0..100
1FH 0vvv vvvv LFO-2 Delay Time 0-100 0..100
20H 0vvv vvvv LFO-2 Sync. 0-1 Off, On
21H 0vvv vvvv LFO-3 Waveform 0-3 Triangle, Sawtooth, Square, Random
22H 0vvv vvvv LFO-3 Rate 0-100 0..100
23H 0vvv vvvv LFO-3 Delay Time 0-100 0..100
24H 0vvv vvvv LFO-3 Sync. 0-1 Off, On
25H 0vvv vvvv EQ Edit Low Frequency 0-15 63, 75, 88, 105, 125, 150, 175, 210, 250, 300, 350, 420, 500, 600, 700, 840
26H 0vvv vvvv EQ Edit Low Gain 0-24 -12..0..+12
27H 0vvv vvvv EQ Edit H igh Frequency 0-21 250, 300, 350, 420, 500, 600, 700, 840, 1.0, 1.2, 1.4, 1.7, 2.0, 2.4, 2.8, 3.4, 4.0, 4.8, 5.7, 6.7, 8.0, 9.5
28H 0vvv vvvv EQ Edit H igh Q 0-8 0.3, 0.5, 0.7, 1.0, 1.4, 2.0, 3.0, 4.2, 6.0
29H 0vvv vvvv EQ Edit H igh Gain 0-24 -12..0..+12
2AH 0vvv vvvv Chorus Edit Chorus Type 0-7 1..8
2BH 0vvv vvvv Chorus Edit Chorus Rate 0-100 0..100
2CH 0vvv vvvv Chorus Edit Chorus Depth 0-100 0..100
2DH 0vvv vvvv Chorus Edit Chorus Balance 0-100 0..100
2EH 0vvv vvvv Partial Mute 0-3 00, 01, 10, 11 (*1)
2FH 0vvv vvvv Partial Balance 0-100 0..100
30H 0vvv vvvv Extension 0-127
31H 0vvv vvvv Extension 0-127
32H 0vvv vvvv Extension 0-127
33H 0vvv vvvv Extension 0-127
34H 0vvv vvvv Extension 0-127
42
MIDI Implementation
Offset Address Description
35H 0vvv vvvv Extension 0-127
36H 0vvv vvvv Extension 0-127
37H 0vvv vvvv Extension 0-127
38H 0vvv vvvv Extension 0-127
39H 0vvv vvvv Extension 0-127
3AH 0vvv vvvv Extension 0-127
3BH 0vvv vvvv Extension 0-127
3CH 0vvv vvvv Extension 0-127
3DH 0vvv vvvv Extension 0-127
3EH 0vvv vvvv Extension 0-127
3FH 0vvv vvvv Extension 0-127
9 3.8 Patch Parameter
Offset Address Description
00H 0vvv vvvv Patch Name 1 0-63 , A - Z, a - z, 1 - 9, 0, -
: : : : : :
: : : : : :
11H 0vvv vvvv Patch Name 18 0-63
12H 0vvv vvvv Key Mode 0-8 Whole, Dual, Split, Separate, Whole-S, Dual-S, Split-US, Split-LS, Separate-S
13H 0vvv vvvv Split Point 0-60 C2, C#2...C7
14H 0vvv vvvv Portamento Mode 0-2 U, L, UL
15H 0vvv vvvv Hold Mode 0-2 U, L, UL
16H 0vvv vvvv U-Tone Key Shift 0-48 -24..0..+24
17H 0vvv vvvv L-Tone Key Shift 0-48 -24..0..+24
18H 0vvv vvvv U-Tone Fine Tune 0-100 -50..0..+50
19H 0vvv vvvv L-Tone Fine Tune 0-100 -50..0..+50
1AH 0vvv vvvv Bender Range 0-12 0..12
1BH 0vvv vvvv Aftertouch (Pitch Bender) 0-24 -12..0..+12
1CH 0vvv vvvv Portamento Time 0-100 0..100
1DH 0vvv vvvv Output Mode 0-3 1..4
1EH 0vvv vvvv Reverb Type 0-31 1..32 (17..32 Change Type)
1FH 0vvv vvvv Reverb Balance 0-100 0..100
20H 0vvv vvvv Total Volume 0-100 0..100
21H 0vvv vvvv Tone Balance 0-100 0..100
22H 0vvv vvvv Chase Mode 0-2 UL, ULL, ULU
23H 0vvv vvvv Chase Level 0-100 0..100
24H 0vvv vvvv Chase Time 0-100 0..100
25H 0vvv vvvv MIDI Transmit CH 0-16 Basic, 1..16
26H 0vvv vvvv MIDI Separate Mode Receive CH 0-16 Off, 1..16
27H 0vvv vvvv MIDI Transmit Program Change 0-100 Off, 1..100
28H 0vvv vvvv Extension 0-127
29H 0vvv vvvv Extension 0-127
2AH 0vvv vvvv Extension 0-127
2BH 0vvv vvvv Extension 0-127
2CH 0vvv vvvv Extension 0-127
2DH 0vvv vvvv Extension 0-127
2EH 0vvv vvvv Extension 0-127
2FH 0vvv vvvv Extension 0-127
30H 0vvv vvvv Extension 0-127
31H 0vvv vvvv Extension 0-127
32H 0vvv vvvv Extension 0-127
33H 0vvv vvvv Extension 0-127
34H 0vvv vvvv Extension 0-127
43
MIDI Implementation
Offset Address Description
35H 0vvv vvvv Extension 0-127
36H 0vvv vvvv Extension 0-127
37H 0vvv vvvv Extension 0-127
38H 0vvv vvvv Extension 0-127
39H 0vvv vvvv Extension 0-127
3AH 0vvv vvvv Extension 0-127
3BH 0vvv vvvv Extension 0-127
3CH 0vvv vvvv Extension 0-127
3DH 0vvv vvvv Extension 0-127
3EH 0vvv vvvv Extension 0-127
3FH 0vvv vvvv Extension 0-127
9 3.9 Reverb Block
Offset Address Description
00 00H 0000 aaaa Reverb Data 1
00 01H 0000 bbbb aaaa bbbb 0-255
00 02H 0000 aaaa Reverb Data 2
00 03H 0000 bbbb aaaa bbbb 0-255
: : : : : :
: : : : : :
02 76H 0000 aaaa Reverb Data 188
02 77H 0000 bbbb aaaa bbbb 0-255
* 1: table 1 (Common Parameter - Partial Mute)
BIN DEC Description
00B 0 Partial2 Off, Partial1 Off
01B 1 Partial2 Off, Partial1 On
10B 2 Partial2 On, Partial1 Off
11B 3 Partial2 On, Partial1 On
44
MIDI Implementation
4. Supplementary Material
9 Decimal and Hexadecimal Table (An H is appended to the end of numbers in hexadecimal notation.)
In MIDI documentation, data values and addresses/sizes of Exclusive messages, etc. are expressed as hexadecimal values for each 7 bits.
The following table shows how these correspond to decimal numbers.
D H D H D H D H
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
D: decimal
H: hexadecimal
* Decimal values such as MIDI channel, bank select, and program change are listed as one 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 Use nibbled data 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.
From the preceding table, since 12H = 18 and 34H = 52
18 x 128 + 52 = 2356
From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13
((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885
16 ) 1258
16 ) 78...10
16 ) 4...14
0... 4
Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the result is:
00 04 0E 0AH.
45
Function... Transmitted Recognized Remarks
Basic Channel Default
Changed
1
116
1
116
Memorized
Mode Default
Messages
Altered
x
**************
Mode 3
Mono, Poly,
Omni Off
Mode 1 0 Mode 3
Mode 2 0 Mode 4
Note Number : True Voice
0127
**************
0127
0127
Velocity Note ON
Note OFF
o
x
o
x
Aftertouch Keys
Chs
x
x
x
o *1
Pitch Bend o *1 o *1
Control Change 0,32
1
5
7
6,38
64
65
100,101
o *1
o *1
x
x
x
x
o *1
x
o *1
o *1
o *1
o *1
o *2
o *1
o *1
(0,1) *2
Bank select
Modulation
Portamento Time
Volume
Data Entry
Hold 1
Portament SW
RPC (LSB,MSB)
Program Change 0-127 *1 0-63 *1
System Exclusive o *1 o *1
System Common
: Song Pos
: Song Sel
: Tune
x
x
x
x
x
x
System Real Time
: Clock
: Start
: Continue
: Stop
o
o
x
o
o
o
o
o
Aux Message : All Sound Off
: Reset All Controllers
: Local On/Off
: All Notes Off
: Omni Mode Off
: Omni Mode On
: Mono Mode On
: Poly Mode On
: Active Sensing
: System Reset
x
o
o
x
o
o (123-127)
o
x
Memorized
Notes *1 Can be set to
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Manualsnet FAQs
If you want to find out how the D-05 Roland works, you can view and download the Roland D-05 Parameter Guide on the Manualsnet website.
Yes, we have the Parameter Guide for Roland D-05 as well as other Roland manuals. All you need to do is to use our search bar and find the user manual that you are looking for.
The Parameter Guide should include all the details that are needed to use a Roland D-05. Full manuals and user guide PDFs can be downloaded from Manualsnet.com.
The best way to navigate the Roland D-05 Parameter Guide is by checking the Table of Contents at the top of the page where available. This allows you to navigate a manual by jumping to the section you are looking for.
This Roland D-05 Parameter Guide consists of sections like Table of Contents, to name a few. For easier navigation, use the Table of Contents in the upper left corner.
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