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U-ESD
Owner's Manual

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 ATTENTION :rsoue oe choc tucTMoue m ms ouwm
CAUTION: TO REDUCETHE RISK C>F ELECTRIC SHOCK.
A ThaBgWn^Bashw^amwmeadsytrtjQtwnthBianBquiiaiefa!
intended to alert
triangle, is me
user to Bie presence ot un-
insulated "dangerous ventage" within the product's erctasure
that may be of sufficient magnitude to constitute a risk of
eiectnc shock to persons.

DO NOT RBTOVE COVER (OR BACK).

NO IBEfl-SERWCEABLE P«TfS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL A TheeaasmaiionpotaitwflrtaaneQuiateraitrte^
to alert the user to the presence of important operating and
maintenance (servicing}
panying the product
instructions in the iterators accom-

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.

WARMING — When using electric products, basic precautions should aiways.be followed, including the following:

i. Read ail the instructions before using the product 9. The power-supply cord of the fjrodudshouto be unplugged
2. Do not use this product near water -—tor example, near a from the outlet when left unused for a tong period ot time.
bathtub, washbowl, kitchen sink, hi a wet basement, or near 10. Do not tread on the power-supply cord.
a swimming pool, or the like. 11. Do not pull the cord but hold the plug when unplugging.
3. The product should be used oniywith a cart or standthatfcs
12. When setting up with any other tnstrumertts, the proceoure
recommended by the manufacturer.
should be followed in accordance with instruction manual
4. THs product, either atone or tocornrartattonwimanaiTipfffier 13. Care should be taken so that objects do not fall and Squids
and headphones or speakers, may be capable of producing are not spited into the enclosure through openings.
sound levels that could cause permanent hearing toss. Do
not operate for a long period of time at a high volume level
14. The product should be serviced by qualified service per-

or at a level that is uncomfortabte. ft you experience any sonnel when:

hearing toss or ringing in the ears, you should consult an A. The power-supply cord or the plug has been damaged:
audtotogjst or

The product should be B. Objects have fallen, or liquid has been spilled into the
5. located so that its location or position
product; or
does not interfere with Its proper ventilation.
C. The product has been exposed to rain: or
6. Theproduetsbould be located away from heat sources such as
D. The product does not appear to operate normally or
radiators, neat registers, or other products that produce heal exhtotts a marked change In performance; or
7. The ptoauctstaxjtoavoto using to where It ma^ E. The product has been dropped, or the enclosure dam-
by dust
8. The product should be connected to a power suppfyonlyof 15. Do natattempt to service the product beyond trtat described
the type described in the operating instructions or as marked in the user-maintenance Instructions. All other servicing
on the product should be referred to qualified service personnel.

SAVE THESE INSTRUCTIONS

For the U.K.
WARNING: THIS APPARATUS MUST BE EARTHED
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE
GREEN-AND-YELLOW: EARTH, BLUE: NEUTRAL, BROWN: LIVE
As the colours ot the wires in the mains toad of this apparatus may not corresporto with me r^ou^
the terminals in your plug proceed as follows:
The wire which is coloured. GREEN-AND-YELLOW must be connected to the terminal to the plug which is marked by
the letter E or by the safety earth symbol ©or
coloured GREEN or GREEN-AND-YELLOW.
Trw wire wnk^ is coiCKjredBLUErrujst be connected
The wire which is coloured BROWN
must be connected to the terminal wNdi is mar^

The product which is equipped with a THREE WIRE GROUNDING TYPE AC PLUG must be grounded.
 U-SED 5SPCM
SOUND MODULE
Owners Manual

Introduction
Thank you for purchasing the U-220 RS-PCM Sound Module. The U-220 contains
a RS-PCM digitalsound generator that can produce a wide variety of high-quality
sounds. To take full advantage of the U-220's features
and ensure long and
trouble-free enjoyment, please read this manual carefully.

Copyright © 1 989 by ROLAND CORPORATION

Ailrights reserved. No part of this publication
may be reproduced in
any form without the written permission of ROLAND
CORPORATION.
CONTENTS
Listening to ROM Play 5 3. Data Mode so
IMPORTANT NOTES 7 a. Write procedure 80
FRONT PANEL AND REAR PANEL 8 Patch 82
M ain Features 10 Timbre 84
How to use this manual •
12 Rhythm Set 86

b. Bulk Dump 88
Chapter 1 How to play the sounds All data 90
1. Getting ready to play 14 Setup data 91

a. Connections 14 Temporary 92
b. Turn the power on 15 Memory 92
2. Play the sounds of the U-220 16 c Initialize 93
All data 95
Setup data -95

1 How MIDI data is communicated 18 Temporary 96

a- Connections 18 Jump Page • • -96

b. MIDI Channels 19 d. Utility 97

2. MIDI data used by the U-220 21 ROM Play 97
MIDI Monitor 97

1 How the sound generator is organized 24 Chapter 5 Basic Procedures

2. Memory structure 25 1. How to adjust the volume 100
3. How the sound is output 27 2. How to change the output 502
4. How MIDI data is received 29 3. How to select patches 104
5 Operation - • • •
-31 4. How to change the current sound 105

a. Operation Modes 31 5. How to change the pitch 107

b. Operation procedures 32 6. How to add reverb 110

7. How to add chorus 111

Chapter 4 Function reference 8. How to add vibrato 1

112
1 Play Mode 42 9. How to set channels 313
2. Edit Mode 45 10. How to use a sequencer 114
a. Setup settings *
45
Master Tune 46 Chapter 6 Supplementary material
Effect 46 1. Error messages 120
LCD 46 2. Troubleshooting 121
MIDI 46 3. Parameter List 123
Map 49 4. Preset Tone List 126
b. Patch setting 53 5. Initialized Settings 130
Naming • • * *
53 6. Blank Charts 133
Effect 54
Controller 56 Roland Exclusive Messages 139
Part settings 58 MIDI Implementation 143
Rhythm Part - - -63 .MIDI Implementation Chart 151
c Editing a timbre 64 MIDIFlow Chart 153
Naming 65 SPECIFICATIONS 154
Tone 65 INDEX 155
Level 66

Pitch 68
Vibrato 70
d. Editing a rhythm set 71

Naming 72
Bender 72
Inst 73
 Listening to ROM Play

Listening to ROM Play

The U-220 contains two songs which demonstrate its multi-timbral capabilities. The ROM Play function is used to
piay these songs.

To listen to the ROM play demonstration and also to take full advantage of the multi-timbral functions,
we
recommend that you connect the U-220 to a stereo amplifier or listen through headphones.

Headphones

[Procedure] (D While holding j

JUMP (
press VALUE |~A~] .

Daia.-m.il.-'ROM Play :Stop

bong #1 HIGHLANDER

Use S ^ CURSOR1 | [ to select a song.

Music by Marvin Sanders

#1 HIGHLANDER
Copyright © 19B9. Marvin Sanders
Music by Eric Persing
#2 U MIGHT BE THE 1
Copyright © 1989, Eric Persing Music

(1) To start the song press l

ENTER j
(or VALUE [Aj).
To stop the song press j EXIT j (or j V [ VALUE }.

Use the VOLUME knob to regulate volume. It is often convenient to hear the ROM Play
demonstration while making connections or adjusting the volume.

* If you start playback without selecting a song, songs 1—2 continue repeating.
will If you
specify song 2 and start playback, song 1 will begin when song 2 ends. Then songs 1 and
2 will continue playing.

® To return to the normal display press |

EXIT |
three times.

< or hold i JUMP l and press j V | VALUE)

Listening to ROM Play

({Notes on ROM Play})

If you want to use the VOLUME knob to adjust the volume, set the rear panel FIXED/

VARIABLE switch to "VARIABLE". Turn the U-220 power off before changing the

switch setting.

The ROM Play data Is not transmitted from MIDI OUT.

Messages from MIDI IN will not be received during ROM Play.

You will need a MIDI sequencer if you want to use the U-220 to create an ensemble

performance like the ROM Piay demonstration.

• Biographies of ROM demo's Composers

MARVIN SANDERS
Marvin Sanders is an accomplished composer / keyboardist and authority on creative sequencing

applications. An active musical director and composer for film, television, and theatre, he lives in

Los Angels where his talents are utilized in studios and live performance. As a product specialist

and clinican for the Roland Corporations have included the "Cityslicker" ROM demo in the D-5.

and programming for the TN-Series Style Cards.

ERICPERSING
Eric Persing is one of the most in-demand session players and programmers in the Los Angels area,

Eric began working for Roland as a product specialist, First doing clinics and support, then gradually

became more involved in product and sound design. Eric has worked with such artists as Michel

Jackson, Denise Williams, Lionel Richie, Larry Carlton, and REO Speedwagon. His music and

sounds can also be heard on many TV shows and commercials. Actively involved in film music, he

has worked with top composers including Michel Coulumbier, Danny Elfman, and Bill Conti.
 IMPORTANT NOTES

IMPORTANT NOTES
In addition to the items listed under Safety Precautions, on page 2,

we request that you please read and adhere to the following.

Concern me the power suonh Other Precautions

• Whenever you make any connections with other devices, i

Never apply strong pressure to the display, or strike it in any
always turn off the power to ail equipment first. This wiSl help way. * '

in preventing malfunction, and damage to speakers.

'
A certain small amount of heat will be radiated from the unit,
# Do not force the unit to share the same power outlet as one and thus should not be considered abnormal.
used for distortion producing devices (such as motors, variable
lighting devices). Be sure to use a separate power outlet. Before using the unit in a foreign country, check first with your
local Roland Service Station.

Concerning placement
Concemine memory backu
• Placing the unit near power amplifiers or other equipment
containing large transformers may induce hum. • Within the unit is contained a battery which serves in
maintaining the contents of memory while the main power is
• Should the unit be operated nearby television or radio receivers, off. The normal life of this battery is 5 years or more, but it is
TV pictures may show signs of interference, and static might be strongly recommended that you change it every 5 years as a
heard on radios. In such cases, move the unit out of proximity When
rule. it is time to change the battery, contact a Roland
with such devices. Service Station.

Maintenance • The first time you need to change the battery could occur
before 5 years have passed.
• For everyday cleaning, wipe the unit with a soft dry cloth, or

one that dampened To remove

is slightly. dirt that is more • When the battery gets weak the following will appear in the
stubborn, wipe using a mild, neutral detergent. Afterwards, display. By this time, it is possible that the contents of memory
make sure to wipe thoroughly with a soft cloth. have already been lost.

• Never apply benzene, thinners, alcohol or any like agents, to "Internal Battery Low"
avoid the risk of discoloration and deformation.

• Please be aware that the contents of memory may at times be

lost; when sent for repairs or when by some chance a
malfunction has occurred. Important data should be written
down on paper. During repairs, due care is taken to avoid the
loss of data, however, in certain cases, such as when circuitry
related to memory itself is out of order, we regret that it may be
impossible to restore the data.
FRONT AND REAR PANEL

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 FRONT AND REAR PANEL

((Front Panel)

Q Power
This switch
switch
IB Mark button
turns the power on /off, Use this button to memorize the display to which you want to
Jump.
Q MIDI message
This indicator lights when
indicator
a MIDI message is received.
QI Display
This shows the various settings and parameter values.
E] PCM card slot
Separately sold sound library cards (SN-UIIO series) can be
|Q Volume knob
inserted into this slot.
This adjusts the overall volume that is output from the Mix
Out jacks and the Phones jack. (This knob
B Part/Rhythm instrument select buttons when the Fixed /Variable switch is set
is

to Variable.)
effective only

Use these buttons to select parts 1 —6 in play mode or when

editing,
B3 Phones jack
A set of headphones can be connected to this jack. Use stereo
PI Value buttons headphones of impedance 8—150 ohms. Sound will appear
These buttons arc used to change setting values. The value at the output jacks regardless of whether the Phones jack is
will decrease each t ime yo u press | V j
, and will increase being used.
each time you press J A j
. If you continue pressing a button
t he val ue will increas e cont nuously .
i If you press ['A')
( I
V I ) while holding 1 V | ( j A | ) the value will change
more rapidly. ((Rear Panel))

HI Enter button B3 MIDI connectors

This button is used mainly to specify a menu item from a Use these connectors to connect other MIDI devices.
menu display in edit mode or data mode.

IQ Direct out 1, 2 jacks

Q Exit button
This button used to return
The direct sound without the effect will be output in stereo
is to the previous higher level in from these jacks.
editing mode or dat a mode. ( This button moves in the
opposite direction of ENTER")
j ,) *When the U-220 is shipped, the direct outputs are
turned
Q Cursor buttons
off.

mode or data mode, use these buttons to

IE] Mix out jacks
In edit move the
blinking cursor to select menu items or parameters. The sound of each part processed through the effect wii! be
In play mode use these burtons to select displays,
output in stereo from these jacks.

For normal use, connect these jacks to your amp /speaker

Data (reverb) button system.
Press this button to enter Data mode, where you can store
edited settings or transmit data.
10 Fixed /Variable switch
If you press this button after pressing Jump button you will This switch determines whether or not the front panel
move to the reverb display.
Volume knob will adjust the volume of the sound from the
Mix Out outputs.
IQEdit (chorus) button When set to Fixed the volume will be at maximum regardless
Press this button to enter Edit mode, where you can edit of the setting of the Volume knob.
(modify) the settings of a patch or sound. When set to Variable the Volume knob will regulate the
If you press this button after pressingjump button you will volume.
move to the chorus display.

Turn the power off before changing the setting of this

Jump button switch.
Use this button to jump to a specific display.
Main Features
High quality RS-PCM sound generator
RS-PCM stands for ReSynthesized Pulse Code Modulation. PCM is a method of
digitally recording a waveform. However simply recording and playing back the
sound of an instrument is not enough to create a truly musical sound.

RS-PCM sound generation uses Roland's advanced signal processing technology to

process and resynthesize musical sounds recorded by PCM, to create realistic and
playable musical sounds. - >-.: .-

The U-220 contains 128 high quality instrumental sounds ranging from piano and
other sounds appropriate for a classical or jazz ensemble, to the synthesizer sounds
of rock and fusion. Various parameters (aspects of the sound) such as pitch and

level can be adjusted for each Tone (sound) to allow you detailed control over

timbral nuances.

Tones from a separately sold PCM card (sound library SN-U110 series) can be
used in addition to the tones built into the U-220,

Multi timbral sound generator

The U-220 contains a multi-timbral sound generator that can simultaneously
produce 6 parts and a rhythm part The sounds (timbres) and effects of each part

can be stored in 64 different settings as patches. When using a MIDI sequencer, this
allows a single U-220 to produce all the instrumental sounds of an entire ensemble.

Tone assignments and settings for the rhythm part can be stored as one of four
rhythm setups. You can select any one of these four to use as the rhythm part.

Multi outputs
The U-220 has three sets of stereo output; Mix Out, Direct Out 1, and Direct
Out 2. These output can also be used as multiple outputs. Each sound can be sent
from its own output terminal, allowing you to use an external mixer and effect units

to mix and process each sound independently.

Voice reserve
The U-220 can produce up to 30 voices at once. The voice reserve settings allow
you to specify how many voices will be used by each part.

Built-in digital effect

The U-220 includes a built in digital reverb/chorus effect unit, providing a spacious

feeling of stereo depth. Each sound patch can be given its own effect settings.

10
 Main Features

Jump function
The jump function allows you to instantly jump (move) to a specified display.

In addition to the pre-defined jump destinations, you may also define your own.
Using the jump function allows you to edit more efficiently.

Map function
The U-220 allows you to create a Program Change Number map that specifies

which sound will be selected by each incoming MIDI program change. Patches,
timbres, rhythm sets, and rhythm instruments each have four maps.

11
How to use this manual
This manual is organized into the following chapters. Read each chapter as necessary.

Chapter 1 How to play the sounds ••••This explains how to connect the U-220 to externa! devices
(how to prepare for playing) and how to hear the sounds.

Chapter 2 About MIDI This explains the basics of MIDI that you will need to know in

order to use the U-220.

Chapter 3 Introducing the U-220 This explains how the U-220 is organized, how to view the
displays, and basic operation. In order to take full advantage of

the U-220 please be sure to read this chapter.

Chapter 4 Function reference This explains the functions for each level of the U-220.

Chapter 5 Basic procedures — rThis explains basic procedures for various operations. Refer to

this chapter when you want to create your own sounds or use
. the performance functions.

Chapter 6 Supplementary materials This contains parameter lists, an explanation of the error
messages, and help for troubleshooting.

Front panel buttons in the text

In this manual, front panel buttons are referred to by the name printed above {or below) each

button.

(Example) Edit button -* [joFF]

Cursor button^! < CURSOR
I I I

12
 er

In chapter 1 we will explain how to connect the U-220 to

external devices (getting ready to piay) and how to hear the
sounds.

;v^
1. Getting ready to play

a. Connections
Connect the rear panel MIX OUT jacks to the input jacks of a keyboard amp or

mixer. When playing in stereo, use the L and R jacks. "When playing in mono, use
only the L (MONO) jack. Before making connections, make sure that the power
switches of the U-220 and theamp are off. When using headphones, insert the

headphone plug intothe -PHONES jack: • • -" ' - - -

v '
.>

IllWlllill
* The U-22D does not contain a built-in power amp or speaker, and will not make sound by
itself unless you use headphones.

.
* When shipped, the U-220 is set so that no sound appears at the DIRECT OUT jacks,

* If you connect the U-220 directly to a stereo system, be carefu! of the output ievel.

Excessively high levels can damage the speakers of your stereo system.

* To take full advantage of the U-220, we recommend that you piay it In stereo.

14
 1. Getting ready to play

b. Turn the power on

[Procedure]
KJJ Check that connections for power and external equipment (amplifiers, etc.) are correct.

Turn the power switch of the D-220 on.

The following message wili.be briefly .displayed..

RS-PCM Sound Modul

Roland U-220

Then the patch name will be displayed.

P-0 1 flco us t P i ano C S @ i 1

s
RK 01 SI 1011 01 01 01 1
I I 1 1 S

Turn on the power of the external equipment {amplifiers, etc.).

Now you are ready to play.

After the power is turned on. the U-220's protection circuit inserts a short delay before
beginning to operate.

15
2. Play the sounds of the U-220
Here's how to play the factory preset sounds of the U-220.

* Set your keyboard to transmit channel 1.

CD Get the display that appears Immediately after the power is turned on.

(We will call this the Play display.)

P- 1 ft coust P i a no L 88 1 ]
s

PX 101101181181181181118

If the display is different press [ EXIT ] several times.

Use [ V [ VALUE | A j
to select P-fll— P-64 while playing the keyboard.

P-84S Bri9ht EP C8843

RX 181 1821 83 84 85 86 1 S I I
1

The sounds that you are selecting in step © are called Patches.
The following chapter "Introducing the U-220" will explain more about patches.

Press PART /iNST 1-

P-84: Bright EP C8843

RX 8 811 02 83 1 84 85 86 1 I I I 1

Press 1 V |
VALUE \ A I
to select T-001—T-I28 while playing the keyboard.

T-838:Slap 1 [0383
RX 1 ©1 1811 8 1 8 1 1 1
1 1 81 1 1

The sounds you are selecting in step @ are called Timbres. The following chapter
"Introducing the U-220" will explain more about timbres.

16
 er 2

This chapter explains the basic concepts of MIDI that you will
need to know when using the U-220.
 7. How MIDI data is communicated
MIDI (Musical Instrument Digital Interface) is a world-wide standard for exchanging musical data such as

performances and sounds. If a device has MIDI, it can be connected to another MIDI device (even of a different

type or manufacturer) to exchange musical data.

MIDI transmits various types of musical data such as data indicating that a key has been pressed or released, or that

a controller has been moved. When you play a MIDI-equipped instrument, it will transmit MIDI data to indicate

the performance gestures. Another MIDI device that receives this data will produce sound just as though it were the

instrument-being played.- - - •:- - - - ,.,-,,... , . - . ........ -. ..,.„ ..,.,..-., ,..„ ,,

This section explains how MIDI data is transmitted and received.

a. Connections
MIDI-equipped devices usually have three jacks; IN, OUT, and THRU. Use a MIDI
cable to connect these jacks to the other devices in your system.

Accepts MID! data

Connect to the MIDI-OUT or MIDI THRU of another device

This connector transmits data

from the unit itself Connect to the MIDI IN of another device
lh=d^ Passes MIDI data received MIDI IN

Controlling the TJ-220 from another device

When using a sequencer or MIDI keyboard to control the U-220 make connections as follows.

MIDI
OUT

I rsB--— — MID!
IN

SB l III If III II III II III II III ,00 r; i

=1dS
-MIDI Keyboard or 'MID! Sequencer '

U-220

18
 I.How MIDI data is communicated

Using MIDI THRU MIDI THRU can be used to send the same stream of data to two or more devices.

MIDI
OUT MIDI MIDI
IN THRU

a
g=H3Ua
rrrn O
ED (33 U-220
Sequencer
MIDI •
MIDI
IN
THRU

MIDI
IN

* !t is theoretically possible to use MID! THRU to connect any number of devices. However
three is about the practical limit. Running a MIDI signal through many THRUs can garble

the transmitted data. If you need to connect more than three devices please use a MIDI

Thru Box.

b. MIDI Channels
MIDI uses "channels" to transmit data independently to multiple devices over a

single cable. You can think of MIDI channels as being similar to television
channels. You can switch channels on a television receiver to receive many
different broadcasts. "When the channel of the receiver matches the channel of the
transmitter, the data of that channel is received.

Broadcasting
1

[
Channel 1 j D Set the receiver (TV set)
to the channel you want
a
to watch.
Broadcasting a
C3
2 131

Channot 2 I ^__ .
a

Broadcasting Many different T.V. messages (e.g. ch 1, 2, 3) are

3 simultaneously being sent through the cable from an
Channel 3 !
antena.

MIDI has sixteen channels, numbered I — 16. When the MIDI channel of the receiving device matches

the MIDI channel of the transmitting device, the data will be received and the receiving device will

produce the appropriate sound.

19
 ,How MIDI data is communicated

Sounds MIDI MIDI

OUT IN

u l,,l„l.„l„l.„l
1

1
£U£
i-i-r-r

Receive Channel 1

I
-Transmit Channel 1

Does not sound MIDI MIDI

OUT IN

D
Receive Channel 1

illMilMll
Transmit Channel 2

only Sound Module B sounds

Sound Module A Sound Module B
MIDI MIDI MIDI MIDI
OUT IN THRU IN

as D
Receive Channel 1 Receive Channel 2

iiiiimn
Transmit Channel 2

20
2. MIDI data used by the U-220
MIDI transmits data using various types of Message. The following types of MIDI message are used by the U-220.

Note Data
Program Change
Channel Voice Messages Control Change
Pitch Bender
Aftertouch

System Messages Exclusive Messages etc.

Channel voice messages

Channel voice messages are transmitted and received on a specific MIDI channel. These messages

include basic types of musical data.

Note: data from the keyboard

Note messages tell how the keyboard is being played. These message indicate which key (the note

number) was played, and how strongly (the velocity).

Similar messages are transmitted when a key is released. For the U~220's rhythm part and for most

other rhythm machines, each note number will play a different rhythm sound.

Program change: data that selects sounds

Program change messages are used mainly to select sounds. The U-220 uses program change

messages to select patches, timbres, and rhythm setups. Devices made by different manufacturers will

respond in different ways to program change messages. Check the manuals for your equipment.

Control change: data for musical expression

Control change messages are used to control musical expressions such as vibrato, hold, volume, and

pan. Devices made by different manufacturers may transmit and receive different types of control

change message, and respond in different ways to these messages. Consult the MIDI implementation'
charts of your equipment to see which control change messages are transmitted and received.

Pitch bend Change: data for pitch change

The pitch bender lever found on many keyboards only transmits the position of the lever. The actual

pitch change (bend range) will depend on the settings of the U-220. The pitch bend range can be set

for each timbre of the U-220.

Aftertouch
The aftertouch data transmitted by many keyboards transmits the force with which you press down on
the keyboard after playing a note. The effect this will have will depend on the settings of the U-220.

Aftertouch is divided into "channel aftertouch" and "polyphonic aftertouch". Channel aftertouch

transmits a single aftertouch value telling the pressure of the key being pressed most strongly, and

affects all notes on the MIDI channel Polyphonic aftertouch transmits an aftertouch value for each

key (note), telling how strongly each key is being pressed. This allows you to affect individual notes

within a single MIDI channel.

The U-220's sound generator can respond to both types of aftertouch.

21
2. MIDI data used by the U-220

System messages
System messages contain data that control all devices in an entire MIDI system, and are received by

devices regardless of their channe! number setting. In addition to exclusive messages (explained

below), system messages include various types of message used by sequencers, and other messages

that help to keep a MIDI system running properly.

Exclusive messages
Exclusive messages contain data unique to each device, such as sound data.

Normally these messages are transmitted and received only between devices of the same type made by

the same manufacturer. For example exclusive messages can be used to transmit sound data to another

U-220, or to store sound data in a sequencer.

About the MIDI Implementation Chart

MIDI is able to transmit and receive data between various types of device, but not all devices are able to transmit and

recive the same types of data, the owner's Manual of each MIDI device has a "MIDI Implementation Chart " which

shows the types of data that the device is able to transmit and receive, (see page 151.)

AH Implementation Charts are a standard size, so that you can place two charts side by side to see how to devices will be

able to communicate with each other.

Turm\

MIDI 1 m pleme ntation Chart

function TnmjmittBd fivxanina JfcraaA*

Instrument A Instrument B
implementation Chart Implementation Chart

22
This chapter explains how the U-220 is organized, how to view
the displays, and basic operation. In order to take full advantage
of the U-220 please be sure to read this chapter.
 1 . How the sound generator is organized
The U-220 is organized into the following memories.

• Tone A. tone is a basic sound which is used in a Timbre or a Rhythm Set. The internal memory of the U-220
contains 128 tones, but an optional PCM card can be inserted to provide additional tones.

Timbres •Timbres are the -basic fUnmof-sound which you -wilt play ."Ai tonevis-thesbasic elementsof«athtiinbre.
, ,

Each timbre also contains settings which determine the pitch, vibrato, and- level of the Tone. 128

timbres can be created (see page 64).

Rhythm Set A Rhythm Set is a combination of drum sounds and settings to determine how each drum sound will

be played, As with timbres, tones art the basic elements from which a rhythm set is made. 4 rhythm

sets can be created (see page 71).

Part The U-220 has 6 parts and a rhythm part Each part has its own MIDI channel, and can be used as

an independent sound generator module. Each part 1 —6 has a timbre assigned to it, and a rhythm- set

can be assigned to the rhythm part.

Patch A Patch consists of settings which determine the rhythm set or timbre assigned to each part, how the

parts will be sounded, and settings for chorus or reverb. 64 sound patches can be created, (see page

53.)

Patches can be set in a variety of ways depending on how you are using the U-220. For example If

you are creating an ensemble using just the U-220 alone, you can set each part to act as an
independent sound generator. Or if you are using the U-220 as a single tone generator you can
create a single sound using several parts (timbres).

More about tones

•Types of tone and simultaneous polyphony

The U-220 can produce up to 30 notes (voices) at. once, but this will depend on the type of tones being-used:-

Tones which consist ofca single voicescan play up to 30;notes. -Tones whiclrconsist of two voices can play up
to 15 notes, (see page 65.)

•Pitch range
Each tone has an upper limit beyond which it cannot produce sound. Each acoustic instrument has a different
sound-producing range, and the sound-producing ranges of the U-220's sounds are based on these ranges.

24
 ZMemory structure

2. Memory structure
The U-220 can be used in a variety of ways depending on the settings of various parameters. The settings of these
parameters are stored in various Memories. The memories are divided by function and use into the following
areas; setup area, memory area, temporary area, and tone area.

Setup area The setup area stores parameters that affect the entire U-220; master tuning, settings which determine

how MIDI data is handled, settings which determine how. program. change data is handled, etc.

Settings in the setup area are preserved even when the power is turned off.

Memory area The memory area stores 64 patches,. 128 timbres, and 4 rhythm sets. Settings in the memory are
preserved even when. the power is turned off.

• Temporary area The temporary area is where you modify the settings of patches, timbres, or rhythm sets. When you
select a patch etc., the settings in the memory area arc called into the temporary area. Settings in the

temporary area are temporary, and will be lost when you select another patch etc.

• Tone area A tone is the basic element of sound (wave data) from which a timbre or rhythm set is created. The
U-220 contains 128 tones. Tones in a PCM card are also handled as part of the tone area data. It is not
possible to change tone settings.

When you play the U-220, the settings in the setup area and the current settings
in the temporary area

will determine how the U-220 sounds. When you select a patch, the settings of that patch and the
timbre and rhythm set settings specified by that patch will be read into the temporary area from the

memory area. When you select a timbre the specified part will be read. When you selecta rhythm set,

the rhythm part will be read.

* When we say that data from the memory area Is "read" into the temporary area, we
mean that the settings of the memory area are copied Into the temporary area.

The important thing to remember is that when you modify the settings of a
patch, timbre, or rhythm set, you are modifying the settings of the temporary
area, not the settings of the memory area. Settings in the temporary area are
only temporary. When you select another patch or timbre these new settings
will be read into the temporary area, and your previous changes will be lost
If you want to keep the changes you make in the temporary area you must use
the Write operation to write the settings into the memory area.
When making settings, be sure to remember how the memories are related.

25
2.Memory structure

Data is transferred inside the U-220 as shown in the following diagram.

Temporary Area Setup Area

Timbre

Master Tuning |

Effect Switch
| t J
LCD"" Contrast j

Patch
.. . ...MIDI , .'.j. \. ,\

Part 1 Timbre Name Mai I

Part 2 Timbre Name 3-

"*

Part 3 Timbre Name

**., Tone Area ....

Part 4 Timbre NBme__J

rorarcr
•£; ;;--!
128 Internal
Part 5 Timbre Name Tones
_,-;

..•;
Part 6- Timbre Name
«v. -

Rhythm Set •. .;
* **
-
Rhythm Part
K-*'
Effect PCM Card

\
|
Rhythm Set Name j
*

Read Read Read PCM Card

Writs Write Write

- J

m«t | :-,
Part 1
|

;
j
Inst |
;

Part 2 £

|
hist |
I ,

' ,
Timbre Name
Part 3 | Bender j «
'

1 Rhythm Set Name j I !

;
Part 4
128 Timbres < •

Part 5 4 Rhythm Sets

Part 6

Rhythm Part

Control

|
Patch Name

54 Patches
Memory Area

26
 3.How the sound is output

3. How the sound is output

The U-220 has three pairs of stereo output jacks. "When the U-220 is shipped it is set so that sound is not output
from the MIX OUT jacks, but you can set these as required by your musical needs.

_DIRECT OUT 2_ DIRECT OUT !_ — MIX OUT

R L R L H t (MONO)

a
i FIXED VARIABLE

Each part 1 — 6 cart be set to send its sound from any output jack (page 61).

For the rhythm part, you can specify the output for each rhythm sound in the rhythm set (see page 79).

Patch
Part 1
If Part 2 Part 3 Part 4 Part 5 Part 6

MIX OUT MIX OUT MIX OUT MIX OUT MIX OUT MIX OUT
DIRECT OUT I DIRECT OUT t DIRECT OUT 1 DIRECT OUT t -OIRfcCl OUT I DIRECT OUT 1
DIRECT OUT 2 DIRECT OUT 2 DIRECT OUT 2 DIRECT OUT 2 DIRECT OUT 2 DIRECT OUT 2

f Rhythm Set
j
Bass Drum j

MIX OUT MIX OUT MIX OUT

DIRECT OUT t DIRECT OUT 1 DIRECT OUT 1

•The chorus/reverb effect is applied to the sound from the MIX OUT jacks. The rear panel

Fixed /Variable switch determines whether or not the front panel Volume knob will regulate

the volume. If you want to use the front panel Volume knob to regulate the volume then set

the switch to Variable. If you want the sound to be output at a fixed level regardless of the
position of the Volume knob then set the switch to Fixed, When using a mixer to adjust the

volume, set the switch to Fixed.

•The chorus /reverb effect is not applied to the sound from the DIRECT OUT 1 II jacks. The
volume will always be at a fixed level regardless of the Volume knob.

* Even if you specify that the sound be output from the Direct Out jacks, the sound will be
output from the Mix Out jacks (without the effect) if the Direct Out jacks are not used. {The
volume can be adjusted by the Volume knob.)

27
3.How the sound is output

Mn addition to the output jack selection, each part has Its own pan setting to determine the

stereo position (page 62). Each rhythm sound in a rhythm set has its own pan setting (page

79). By setting the output selection and pan of each part as shown in the following diagram,

you can send the sound of each part from its own output jack.

7> : outou; only from left (L)

<7 : output only from t iohl (R)

Patch

4 Part '5
:
Part 1 Part 2 'Part '3 Part Part 6
Outout jack MIX OUT MIX OUT DIRECT OUT 1 DIRECT OUT 1 DIRECT OUT 2 DIRECT OUT 2
Pan 7> <7 7> <7 7> <7

MIX OUT/L t DIRECT OUT 1/L t DIRECT OUT 2/L

MIX OUT/R DIRECT OUT 1/R DIRECT OUT 2/R

f Rhythm Set \

c Bass Drum j [
Rim Ride Cymbaf |

Outout jack MIX OUT MIX OUT DIRECT OUT 1

Pen 7> <7 <7

1
MIX OUT/L V >
•

MIX OUT/R DIRECT OUT 1/R

28
4. How MIDI data is received
The following diagram shows how the U-220 receives MIDI data.

Patch Timbre

Control ',

/
IN p>

/f^\ * ;
To Outr.

.Km
I

Part 1 (Receive Channel)

V
*
part 2 (Receive Channel)
THRU *

xsg^ *
Part 3 (Receive Channel)
Vo!^ " i 1
j .

^~^j-^
j

Part 4 (Receive Channel) ;

!
Part 5 (Receive Channel)
- s

Part 6 (Receive Channel)

Rhythm Part (Receive Channel)

A

MID! Data Rhythm Set

Audio Signal

•Each part receives MIDI data on Its own MIDI channel (page 19). For example when part 1

receives note data, it will sound using the timbre assigned to part 1. Program change data can
select timbres or rhythm sets. In addition, control change data can affect the sound of timbres

in other ways.

•In addition to the MIDI channel for each part, there is a Control Channel (page 46) for
selecting the patch. On the control channel, program changes can select patches, and control
change data can adjust the settings of the effect unit

Program change data The U-220 can receive program change data to select the following.

Data selected by program change

Control Channel Patch

MIDI channels of parts 1—6 Timbre

MIDI channels of Rhythm part 1—6 Rhythm Set

29
4.How MIDI data is received

Each incoming program change can select the patch / timbre / rhythm set shown in the following

table. You can change these assignments if you wish.

Patch. Number Program Change Number

P-01—64 1—64
Timbre Number Program Change Number
T -001—1 28 1—128
Rhythm Set Number Program Change Number
R.I— 1-4

A set of correspondences between program numbers and memories is called a

Map.
You can create four maps of your own for each type of memory. By arranging
program numbers in the order of their use in a live performance, you will be able to

select the right sound for each song using consecutive program changes. For details

refer to "Function reference" (page 49).

Four types Four types Four types

Control change data The U-220 receives control change data to control modulation, volume, pan, etc. In

addition, you can adjust the settings of a specified parameter using control change
data. Each patch has settings which specify which parameter will be regulated by
which controller. For details refer to "Function reference" (page 56).

30
 S.Operation

5. Operation
This section will explain how the U-220's operations are organized. The following chapter "Function reference"
will explain how to modify each type of parameter, but this section will help you understand the overall flow of
operation.

a. Operation modes
The many operations of the U-220 are grouped in the following three modes.

PLAY

EDIT DATA

Setup Patch Timbre Rhythm Write Bulk Init Util

Play mode You will normally play the U-220 in play mode. You can also check patch
(page 42) settings and part settings.

Edit mode In edit mode you can edit (adjust or modify) the various
control settings and
(page 45) sound (patch/timbre/rhythm set) settings. Editing always affects- the
temporary area, and your edited settings are temporary. If you want to store
your newly edited settings, you must use a data mode operation to write them
into memory.

Setup settings (edits) directly affect the setup memory, not the temporary area, so the
write operation is not necessary.

Data mode In data mode you can write your edited settings into memory, or transmit data
(page 80) viaMIDI (bulk dump). In addition, you can initialize settings or monitor the
MIDI data being received. You can also listen to the U-220's demo
performances.

31
5.0peration

b. Operation procedures
The various groups of parameters you edit in Edit mode and the various operations

of write/data transmission/initialization in Data mode are grouped into the

following levels.

•Edit mode contains -menu'. displays from --which: you -will :seiecHthe parameter -group, and

parameter displays in which you modify the value of the parameters.

First select the group of the parameter you wish to edit, and then move to the parameter

display. Next select the parameter you wish to edit and modify the value.

•Data mode contains displays from which you will select the write /data transfer /initialize/

utility function, and displays in which you specify the unit of data. First select the desired

function. Then specify the unit of data and execute the operation.

As explained in the following procedure, press the buttons to move to each level.

Then select and modify the parameter. You can also use the Jump function (page 37)

to move quickly to a desired display.

© Press |
EDIT""] or I
DATA 1
to select the operation mode.
Then use QD CURSOR 1 [
and ENTER"! to move
| to the level of the parameter
you wish to modify.

When you reach the desired parameter, use j V 1

VALUE [Al to change the
setting or value.

Press j EXiTl to return to the desired display.

*When you want to modify the same parameter for different parts In a patch, use
(jjjjjr] PART/INST [
')
at step (2) to move between parts.

(You can also use j

-4 j
PART/ INST j |
to move between timbres or rhythm

Instruments when editing a timbre or rhythm set.)

If you loose track of where you are, press [

EXIT [
several Ume to return to the play display. (Or
hold i
JUMP I
and press [V~J VALUE .)

J*

p-0 1 flcoust P i a no L 89 i
s

RX 9 1 8 11011811 1IQ11 1.0

1 i

32
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Q
 5. Operation

How to use the buttons

Return to a higher level Move between parts (1—6)

Move between timbres (1 6) —
Select the mode Set the Rhythm Inst
Execute a command
Edit Mode Data Mode Move to a tower level

PART/INST
'EDIT 'DATA "EXIT 'ENTER

CHORUS REVERB

CURSOR VAUJE
MARK JUMP V A

Modify the parameter values

Move between parameters Modify settings

EDIT Press this button to move to edit mode.

DATA Press this button to move to data mode.

AJ CURSOR Use these buttons to select parameters that are in the same level.

ENTER Press this button to move to the next lower level.

V VALUE A Use these buttons to modify parameter values or settings.

<4 j
PART/INST Use these buttons to move between parts (parts -1—6) in a patch. When editing a timbre, use

these buttons to move between timbres (timbres 1—6). When editing a rhythm stt, use these
buttons to move between instrument numbers {Bl —D7).
EXIT Press this button to return to the next higher level.

The upper line of the display will show the levels through which you have moved
as you progress down toward the parameter level

The level to which you have entered

Edi-U'Setup.'TilDI
< Rx SysEx = Off
Parameter

35
5.0peratior!

(Example)

Operation Level Display

"EDiTl EDIT Edit

1 S Patch T i Fibre Ry thro
S S

H3 cursor
i

E £
1
I
ENTER 1
— Setup Ed it.--"Set up
I
M. Tune Ef otl I LCDIfllEffi Map
Q]CURSOR[F] ~&
I

MIDI Edit--Setup--MIDI
i
Rx Control Ch=16
HjcursorCH n

Rx SysEx Edit.-'Setup.--MIDI
< Rx SysEx =1® t

M
* The " -4 " and % "
in the display indicate that other parameters exist at the same level.

In data mode there will be the following additional display to execute the selected

operation. This display will appear whenever you are about to write data or

initialize.

Da ta * ** ,•":+:*:+:
.-••

Sure? CUflLUEA: s C EX IT

When execution is complete the following display will appear.

Data s #**>***#
Fu n c t i o n C on p 1 e ted

After a short time the previous display will reappear.

36
 5.0peration

The Jump function

Frequently used displays in the U-220 have been preset so that

you can use the
JUMP button to move quickly to them. This is called the Jump function.

While holding |
JUMP [
press the button for which the desired display has been preset. Page
38
hasa.llstof, the. preset jump displays .(functions).

•It is not possible to change the preset jump display (function) destinations, but
you can use the MARK button to mark any display (function) to which you wish
to jump. Page 39 lists the displays that are marked by the factory settings.

[How to mark a Display}

\JJ Select the display you wish to mark.

in all displays the location of the cureorwill also be marked.

Press 1
MARKJ .

Press the button for which you want to mark the display.

.Press one of these buttons

PART/INST
EDIT DATA EXIT ENTER

II II |
|
||
CHORUS REVERB

^
I I

CURSOR VALUE
MARK JUMP ^_ V A
|| |
||

To move to the display you have marked, press j JUMP l and then press the button
for which you have marked the desired display. (This procedure is also used to
jump to the displays marked for ] EDIT I
and j DATA 1 .)

* If you want to restore the marks to the factory settings, you can initialize the marks
(see page 93).

37
5.0peration

Preset jump functions

The following jump functions have been preset, and cannot be changed.

The display to set the chorus of the patch

rgDin
While holding Ed i t .--Pa toh.--Ef f ec t .••'Chorus
:+:*::+::+::+::+::+: :+::+: :+::+::+::+::+::+::+::+: :+::+::+: H-: :+: :+: :+:
JUMP
or
The display to set the reverb of the patch
After Pressing
JUMP fDATA
E d i t- P a to h Ef f e c t- R e ver b
••••" ••* ••-*

He***********************
The display to transmit the parameter group currently
being edited

EXIT
Data--*Bu 1 k x****
I

The display to write the parameter group currently being

edited

Data.-'Ulr i te--'****
ENTER

You can jump hare only from edit mode. However you cannot jump hare
from editing the estop parameters which do not need to be written into
memory.

Move to the next parameter group

While holding ren cursor
(Same as rE^TTI — R1 CURSOR- 1 ENTER )
IJUMPI
I

CURSOR E Move to the next parameter group

(Same as IWTT] -CURSOR |"F1-» ENTER | I )

Return to the previous display you passed through

S3 PART/iNST (up to 32 displays)

Advance to the next display after returning to previous

PART/INST [H
displays

IE] VALUE The play mode .display .where you last were

The display to play ROM demo

(the song previously selected)

VALUE ED
Data^Ut i 1 -'ROM Play Stop :

bon9 #*** ***************

38
 B.Operation

Settable jump functions

The following jump functions have been set at the factory. (You can change these if

you wish.)

(exit!
Ed i t.-"Patc.rv'Part. i .--M I D
Rx Ch=8i >

ENTER
Ed i t--'T i fibre 111 •••-Tone
1 j

Tone = 1-892 ft. PIANO 4

Ed i t.-*PatcrVR . Part
H3 CURSOR 4 Rx Ch=19

CURSOR EB
Ed i t--*Rhy t hns I nst.-"Tone
Bi : 1-128 DRUMS *
After Pressing
jJUMPl
Ed i t--*Pa terv'Part 1 .--Output
HI PART/INST fts9n=Dry Pan=7< fr

PART/INSTFJEJ
Ed i t.--Patch-''Part 1 ••••Output
4 Leve 1=127

Ed i t-f Patchy-Part 1 si) . Rsv

L2] VALUE U o i c e Reser e =6 C3 1
'...'

VALUE E]
Ed i t-'T i Fibre tin .'-Ley e 1
Level = 180 Uelo Sens=+7 1-

39
 7. Play Mode (Play)
In play mode you can view the effect settings of the patch and the settings of each part.

R-15 Standard Set ESS 13

PART/INST

"'•"" """ ~"

Part.
T~Q3@rS'lap "'1
J
VBSm
P-Sls fiooust Piano C081D
RK S 1 ** S3 !' ** 07 1 S i f 1 I I S

OUT Mx ** D2 Mx ** D 1 (2)S I I 1 I I
CURSOR
EFT -R ** C- ** CRI I
(3) 1 ! — I I I

PfiH Rn ** 2 > >< ** < 7 I(4)

I i
I i i

RSUi 81**1 51 ii 1**1 7 (5)

The top line shows the currently used patch name, timbre name, or rhythm set name.

Use j
-4 |
PART/INST |
j
to move between the following displays,

Patch 4* Part 1 ** Part 2 «- Part 3 «- Part 4 4» Part 5<» Part 6 « Rhythm part

Use j
\7 j
VALUE j A 1
to select patches, the timbre of each •part, or the rhythm set of the rhythm

part.

The program change number which corresponds to the patch or timbre is displayed in square brackets

[ ]. If no program change is assigned to the patch, timbre, or rhythm set, this will display [
— 1.

Map (Patch, Timbre, Rhythm Set)

Transmitted
Program Change Number

If *H** is displayed in the [ ], the program change reception switch is Off for the selected patch,

timbre, or rhythm set

-.(Example)

Edit/Setup/MID
<Rx Patch Chan9e :

42
 I.Play Mode (Play)

" It more than one program change number is assigned to the same patch number, the

lowest-numbered program change will be shown.

3 atch
Map (Display)

2-1 /
4- 1

8-1 P-01: ficoust Piano twmi

,.RK X81J.B1 l.aiJ.01 £11 1811 1£1 I

r-x
Transmitted U-220

Program Change Number

The lower line shows the reception. channel and output for each part.

Use | A CURSOR j f I
to switch the display as follows.

RX (reception channel) » OUT (output assign) » EFT (effect) « PAN (pan) «* RSV (voice

reserve)

The cursor in the upper line corresponds to each part.

T-030sSlap 1 E0363
OUT Mk ** D2 Mx ** d i I
1111111
I 1 1 1 i

Part 1 Part 2 Part 3 Part i Part 5 Part 6 Rhythm Part

(1) RX (1—16, **. J>)

This shows the reception channel setting of each part, and also serves as a simple

monitor of which parts are sounding.

1—18 : reception channel number

* * : not receiving (off

J) : now sounding

(2) OUT (Mx. D1. D2, **)

This shows the output setting of each part.

Mx MIX OUT
D1 DIRECT OUT 1

D2 DIRECT OUT 2
** not used, since the reception channel is off

•
The rhythm part will not be displayed.

43
l.Ptay Mode (Play)

(3) EFT CCR, C-, -R, . **)

This shows the chorus /reverb setting of each part.

CR : from chorus to reverb

C- : chorus only
-R : reverb only
• -- i-thesetup effect settings for.choruSiaRdrreverb ar& both off

* * : not used, since the reception channel Is off

jS The rhythm part will not be displayed.

(4) PAN (7 > • 1 >, X, < 1 • < 7, Rnd, * * )

This shows the pan setting of each part.

7— 1 > : panned to left

>< : panned to center

< 1— 7 : panned to right

Rnd : random pan change for each note

* * : not used, since the reception channel Is off

•£ The rhythm part will not be displayed.

Left Right

O o

o Center

O
7> >< <7

(5) RSV (0—30, J>, **)

This shows the number of reserved voices for each part.

0—30 : number of reserved voices

J5 : notes are sounding which exceed the number of reserved voices

** : not used, since the reception channel is off

44
 2. Edit Mode (Edit)

2. Edit Mode (Edit)

In edit mode you can edit setup, patch, timbre, and rhythm set data. Edited settings are temporary, and will be lost
when you select another patch /timbre /rhythm set. If you want to keep the current settings, you must write the
data into memory.

Precautions when editing

While editing, you can hold |

JUMP l and press ] ENTER"] to move to the display for writing
the current parameter.. By holding. ! JUMP .

|
and pressing |_£XijJ vou can move to the display
for transmitting the current parameter.

If you press ]
ENTER 1
while editing, the value of the selected (blinking) parameter will be

transmitted from MIDI OUT as a system exclusive message.

However Setup /MIDI or Setup /Map settings will not be transmitted.

E d i ts Pa t- ch.'- P ar t 1 so u t-pu t
< Leuel=127

For example If you press |

ENTER I
from the above display, the volume level setting (127) for

part 1 will be transmitted.

If you have selected the setup parameter master tune, It will be transmitted from MIDI OUT as
a control change.

a. Setup settings (Setup)

These settings affect the setup. Setup settings are always memorized, and there is no
need to write them after modifying the settings. »

[Example operation]

) Use H3 CURSOR Eto select "Setup"

(blinking) and press ENTER j I

© press ripm © Use [S3 CURSOR

(blinking)
E
and press ENTER
I
to select "MIDI"
I

Ed i t/Setup^MIDI
< ftx SysEx = Off

Other parameters exist at same level

Use [3 VALUE E] to modify the value
Use H] CURSOR E to select

* The value of the currently selected parameter will blink.

* Return to the play, display by pressing flXlTl several

times. __„^_
(or hold IJUMP and press [§] VALUE)

45
ZEdit Mode (Edit)

Master Tune

Master Tune 427.4Hz— 452.9Hz

This adjusts the pitch of all parts. The displayed value indicates the frequency of A4. The decimal

place is approximate.

..Ed i t.-'Setup^'M £une —...,..—: .

Master Tune=448 8Hz .

I Effect

Chorus On /Off
Chorus can be turned on /off regardless of the patch settings. When this is turned off, there will be no

chorus effect even if chorus is turned on for individual parts in the patch.

Reverb On /Off
Reverb can be turned on /off regardless of the patch settings. When this is turned off, there will be no

reverb effect even if reverb is turned on for individual parts in the patch.

E d i t-.'"Se tup Ef f e c t ••*'

'

C h or us -On Re uer b =0

* The on /off settings for chorus/ reverb are memorized even If you change patches.
* The effect sound is output from MIX OUT L and R.

LCD
LCD Contrast 0—15
This adjusts the contrast of the display.

Edit/SetUFv-LCD
LCD Contrasts 1

MIDI

Rx Ctrl Ch (Rx Control Channel) 1—16

This specifies the channel on which program changes will be received to select patches.

This also determines the channel on which control change data is received to modify effect parameters

(page 56).

Edit^Setup-'MIDI
Rx Control Ch=16

46
 2.Edit Mode (Edit)

Rx Patch Change Mapl—4, Dir, Off

This determines how program change data is received to select patches.

Edit.-'Setup.--riIDI
<Rx Patch Chang e= Dir

Mapl—4 : When a program change Is received the .patch.speclfled. fay the map will

be selected.
Dir : When a program change Is received the correspondingly numbered
patch will be selected.
Off : Program changes will be ignored.

Rx Timbre Change Map 1—4. Dir, Off

This determines how each part of the patch will receive program change data. When a program change
is received, a timbre will be selected for the part which is receiving that channel.

Edit.-'Setup.--NIDI
<Rx Ti fibre Chan9e=Dir

Map1—4 : When a program change Is received the timbre specified by the map will

be selected.
Dir : When a program change is received the correspondingly numbered
timbre will be selected.
Off : Program changes will be Ignored.

* If the control channel Is the same as the channel of the part for which you want to select
timbres, an incoming program change will first select the patch and then select the timbre."

Rx Rhythm Change Mapl—4, Dir, Off

This determines how program change data is received by the rhythm part.

When a rhythm part receives a program change it will change rhythm sets.

Edit..--Setup.'-MIDI
<Rx Rhythm Chan9e=Dir >

Mapl—4 : When a program change Is received the rhythm set specified by the map
will be selected.
Dir : When a program change Is received the correspondingly numbered
rhythm set will be selected.
Off : Program changes will be Ignored.

* If the control channel and the rhythm part channel are the same,
an incoming program
change will first select the patch and then select the rhythm set

47
2.Edit Mode (Edit)

Rx R.Inst Assign (Rx Rhythm Inst Assign) Map1—4, Dir, Off

This determines how the rhythm part will receive note data.

Edit.-Set.up/MIDI
<Rx R. Inst fi££igri=Dir" ¥

Mapl-^- ;:~When.note-d^
the selected map.

Dir : Note data will be received. Note numbers will not be converted.

Off : Note data will be Ignored.

Rx SysEx (Rx System Exclusive) On, Off

This determines whether exclusive messages will be received or not.

Edit---Setup.-'MIDI
4 Rx SysEx = Off >

On : Exclusive messages will be received

Off : Exclusive messages will not be received

While an exclusive message is being received the following display will appear.

Re c e i .,« i n 9 S y sEx

Device ID 1—32
When sending and receiving exclusive messages, the two MIDI devices must be set to the same device
ID number. Exclusive messages will not be received unless the device ID numbers of the two devices

match.

Edit.--Setup.-'MICa
4 SysEx Device ID=17

48
 2-Edit Mode (Edit)

Map
The U-220 allows you to create Maps to specify which sound is selected by each incoming
program change number. This allows you to select any sound using any program change
number. Patch, timbre, rhythm set, and rhythm instrument each have four maps.

Map :
Number
• Patch • Patch (P-01 - p-64)
•Timbre' '' i
-Timbre CTOD1 -1-128)
"1* '

Rhythm
(R-1 - R-4)
Sat • Rhythm Sat

1-2 - 2

3 — Dir 3
Message
6—4 -
4
7-* Off

U-220

Edit.-"S s-tup-'-Map/Patch
Pate "i Mapy #821 *Q64

When I is displayed you can set the map from the U-220's controls,

•When setting the map, you can specify the number from the U-220 and also from
an external MIDI device. Use the following procedure.

— —
— tj}B3
Keyboard

°°°° BO !
o*a
!—cDODDoan
cib
A
™ °°°
p—jr
* • t\ 1
Map

1-2
—— The number <* '" •3-20
you wish to set

^Iiliiiiifflffi 6-4
7-10

[Procedure]

© While holding | JUMP [press I MARK I.

E d i t /Se tu p .-"M ap.-'P a to h

Patch Mapl> #Q2i +064

This is the same for Timbre,

Rhythm, and R. Inst Map

The ! will change to >

49
2-Edit Mode (Edit)

When you transmit a program change from the connected keyboard, A will change to that

number and the number B which is currently set for that program change will be displayed.

Use r^Tl CURSOR !

• |
to move the cursor to B and use j V |
VALUE ! A j
to specify the

memory number you want the program change to select.

-With -the .cursor located at B yoa-can :repeat. steps ©and:© to'sct,"program £hange.'iiumberv>from the

keyboard.

* When setting the rhythm instrument map, set the U-220 and the keyboard to the same
transmission /reception channels (page 59).

* When selecting a patch from the keyboard while playing, transmit the program change on

the control channel.

When selecting a timbre, rhythm set, or rhythm instrument, transmit the program change

data (note data for a rhythm instrument) on the same channel as the reception channel for

the part you want to select.

@ Once again, hold 1

JUMP [
and press 1 MARK j
and the > will return to : .

Patch Map (Patch Change Map) 1—64, Dir, Off

This setting determines how program change numbers are related to patch numbers when selecting

patches from an external MIDI device. Each patch map determines how the 128 program change

numbers correspond to the 64 patches.

Four patch change maps can be set. The Rx Patch Change parameter determines which of these four

maps is used, (page 47.)

1-54 The patch number that will be selected by the Incoming program change
Dir The Incoming program change will select the patch of the same number
Off The Incoming program change will not change the patch

Map The sound assigned to U-220 program change

number 2 will be selected

Transmitted
Program Change Number
The sound assigned to U-220 program change
number 2 wilt be selected

The. -program change will be recived, but the

sound will not change

Ed i t--"Set.uP.''Mai=-
Pa tch Mapl: #921 +964

50
 2-Edtt Mode (Edit)

Timbre Map (Timbre Change Map) 1—128. Dir, Off

This setting determines how program change numbers are related to the part number of each timbre
when selecting the timbre of each part from an external MIDI device. Each timbre map determines

how the 128 program change numbers correspond to the 128 timbres. Four timbre change maps can be

set. The Rx Timbre Change parameter determines which of these four maps is used, (page 47.)

.1—128 . : The timbre number that will be selected. by the Incomlngprogram change.
Dir : The Incoming program change will select the timbre of the same number
Off : The Incoming program change will not change the timbre

Ed i t.-*Set.up.-*Map
Ti nbre Map is #049*041

Rhythm Map (Rhythm Change Map) 1—4, Dir, Off

This setting determines how program change numbers are related to the rhythm set when selecting the

rhythm set of the rhythm part from an external MIDI device. Each rhythm map determines how the

128 program change numbers correspond to the 4 rhythm set numbers. Four rhythm change maps can

be set.

The Rx Rhythm Change parameter determines which of these four maps is used, (page 47.)

1—4 : The rhythm set number that will be selected by the Incoming program
change
Dir : The Incoming program change will select the rhythm set of the same
number
Off : The Incoming program change will not change the rhythm set

Ed i t--'Set.up.-"Map
Rhythfi Map is #122*683

51
iEdit Moda (Edit)

R.inst Map (Rhythm Inst Map) Bl — D7, Dir, Off

Rhythm inst Number (B1-D7)

81
Rhythm Inst Map
(Bl - 07, Dir, Off)

B2^C1 - CI

MIDI C2-»-Dir- C2
Message
G5^0ff
D7

U-220

This setting determines how key numbers of an external MIDI instrument are related to the key

numbers of the U-220 rhythm instrument. Each rhythm instrument map determines how each MIDI

key number corresponds to each rhythm instrument number. Four rhythm instrument maps can be set.

The Rx R.Inst Assign parameter determines which of these four maps is used, (page 48.)

Bl— D7 : The key number of the rhythm Instrument which corresponds to each
Incoming key number

Dir : The Incoming key number will play the rhythm Instrument of the same
key number

Off : The incoming key number will not play a rhythm Instrument

Ed i t-'Set-up^Map
R I nst Ma p2
. : C-1 *D i r

52
 2£dit Mode (Edit)

b. Patch setting (Patch)

A patch consists of part settings, effect settings, etc. 64 patches can be stored in
internal memory. Edited settings are temporary. If you want to keep your edited
settings you must write them into memory (page 80).

[Example operation J

© Use Hj CURSOR FF1 [to sele ct "Patch"

(blinking) and press ENTER I 1

) Use RT1 CURSOR fFlto sele ct "Part"

CD Press fEW (blinking) and press ENTER | j @ Use Q] CURSOR [F) to select
"Output" (blinking) and press ENTER"!
/
!.

Ed i t..--'Pa tcrVPar t i ^Output

flsgn-Dry Pan|= (K

Other parameters exist at same level

Use H3 CURSOR fF] to select the
parameter you wish to modify

Use [JO VALUE f2D to modify the value

UseH]PART/!NSTCE]to select
the part you wish to set * The value of the currently selected parameter will blink.

* Return to the play display by pressing flXlTl several

times.
(° r hold I JUMP] and press RVALUE)
Naming (Name)
Patch Name
Each patch can be given a 12-character name.
Usc 1 < CURSOR
1 1 |
to move the cursor and use j V \
VALUE pAl to change the character
located at the cursor.

Ed i t.-'Pat.crv"HaFie
P at. ch N aroe=E* e 1. 1 essBas ft

* The following characters can be used space A : —Z a—z —9 - / + * . :; = !"#

%&*()<>{} E ] _?J>

53
>Edit Mode (Edit)

Effect
These are the chorus and reverb settings.

Chorus /"Ranger

Type Chorusl, Chorus2, FB-Chorus, Fianger, Short Delay

Select the type- ofxhorus from- the foliowingifive.'types.

Ed i t/Patch/Ef f-eot/Choru:
Type=FB~Chor*us

Choaisl Rich spacious effect

Chorus2 Deep ensemble effect, especially effective for layered strings.

FB-Chorus An effect midway between chorus and fianger.

An effect of strongly emphasized shifting overtones, especially effective

Fianger
on sounds with a strong overtone structure such as HEAVY.EG.

Short Delay A delay repeated in a short time.

Out (Output Mode) Pre Rev, Post Rev

This determines how the chorus and reverb are connected. The output assign setting (page 61) of each

part will determine which effects are used.

Pre Rev : Reverb will be added to the sound that has been processed through the
chorus.

Post Rev : Reverb will not be added to the sound that has been processed through

the chorus.

Ed i t/Patch/Ef f ect-/ Chorus

Out. =P re Rev
•4 Level =24

Pre Rev Post Rev

wrd - niRFfrr out 7 Dir2 * L DIRECT OUT 2
fj

uin ?"
£ LMKfcU t UU i I Uir1 " S UIHttj 1
UU ' '

Dry Dry

* Reverb
_b ' ^i MIX OUT
Rev i Z n MIX OUT
>
'
* /Delay
_J
"1 V Reverb 1
Rev \' -^ n
/Delay > v *- "
Cho * Chorus

Cho Chorus

54
 ZEdit Mode (Edit)

Level 0—31

This determines the volume of the effect processed sound.

Ed i i.'-Pat-ch.-'Effect .••-Choru:
< u t = Pr- e Rev L e ve 1 =2 4

Delay Time 0—31

This adjusts the internal delay time of the chorus/ fl anger.

Ed i i-'Pat-crVEffect^Chor u<
< Del ay Tir--ie=5 Rate=18l

* For Chorus 1,2, and FB-Chorus, higher settings will result in a more spacious effect. For
Flanger, lower settings will result In a stronger flanging effect. Higher settings will be
closer to a chorus effect.

For Short Delay, this adjusts the timing of the repeats.

Rate 0—31
This adjusts the modulation frequency of the chorus /flanger.

Ed i t'- Pa tch.-'Ef feet xGhorus

< Del ay Tine=5 Rate- 181*

* This Rate setting has no effect when Short Delay is selected.

Depth 0—31
This adjusts the depth of the chorus or flanger effect.

Ed i t.--Patch---Eff eGt-.-'Choru:
4 Depth=10 Feedback =±8

* This Depth setting has no effect when Short Delay is selected.

Feedback —31— +31

This determines the amount of feedback for the flanger or delay. The phase will be different for
positive ( + ) or negative ( — ) settings, and the effect will change.

Ed i t.-*PatcrVEf f eet,'Chor-us
4 Depth— 18 Feedback =±S*

* For Flanger and FB-Chorus this will change the character of the effect. For Short Delay
this will determine the number of repeats. For Chorus 1, 2 it has no effect.

55
ZEdit Mode (Edit)

• Reverb / Delay

Type Room 1—3. Hal! 1—2, Gate, Delay, Cross Delay

This selects the type of reverb/delay.

Ed i t--'Patch.--Ef feet--"Reverb
Typ©=Ha 111 T i r-»e= 1 8>

Room 1—3 Sharply-defined reverb with a broad spread

Hal! 1, 2 Smooth reverb, with greater depth than Room

Gate A sharply muted reverb ; i.e.., "gated" toprocedure an artifically fast decay
Delay Standard delay effect

Cross Delay Delay repeats pan to left and right

Time 0—31
This adjusts the reverb time.

Edit.--paicl-VEff :.t
>
,
..--*
Re , ,
... er*b
Type=Halli Time=i8S>-

* When Delay or Cross Delay has been selected, this adjusts the delay time.

Level 0—31
This adjusts the level of the reverberant sound (delayed sound).

Ed i t. -'P.a to h s'Ef'f" e c t» Rev erb ••"

4 Level =9 Delay FB=12

Feedback 0—31
This adjusts the number of delayed repeats.

Ed i t.-'F'a tcrVEf f ect-'-'Reverb

«l Level =9 Delay FB=12

* This parameter Is effective only when Delay or Cross Delay is selected.

Controller (Ctrl)

Control change data from an external MIDI device can control three parameters of the U-220.

This allows you to control parameter values or timbres or effects from an external MIDI device.
You can specify the three control change numbers that will be received, and the three

parameters which will be controlled by each control change.

56
 2.Edit Mode (Edit)

Prm # (Control Number) 0—5, 7—31, 64—95,

This selects the three control change numbers that will be received.

Ed i t--Pat ch--'Ct.r 1
P r I =# f f T i nb r e L e Me 1
r«"i

Edit---pat.Gh.--Ctrl
4j Pr r«2=#92 Env Rit-ack >

Edit..''PatGl-VCtrl
*Prn3=#92 R-Bend Rate

Parameter Select
This specifies the U-220 parameters that will be affected by each control change.

* If you have specified a timbre parameter, send control change data from a sequencer or
keyboard on the reception channel of the part you wish to control.

* If you have specified an effect parameter, send controi change data from a sequencer or

keyboard on the controi channel.

Selectable Parameters

Display Parameter

Timbre Level Timbre Level

Env ft t tack Env Attack Rate
Env Decay Env Decay Rate
Env Sustain Env Sustain Level
Env Release Env Release Rate
ft. Bend Depth Auto Bend Depth

Timbre Parameters
ft'.Bend Rate Auto Bend Rate
Detune Depth Detune Depth
Uib Rate Vibrato Rate
Uib Waveform Vibrato Waveform
Uib Depth Vibrato Depth
Uib Delay Vibrato Delay
Uib RiseTiroe Vibrato Rise Time
Uib Nod Depth Vibrato Modulation Depth

Chrs Level Chorus Level

Chrs Rate Chorus Rate
Effect Parameters vChrsFeedbaok Chorus Feedback
Rev Leve Reverb Level
DlayFeedback Delay Feedback

57
 2.Edit Mode (Edit)

Part settings (Parti— 6)

These settings are made for part 1 — 6 of each patch.

• Timbre

Timbre (Timbre select) T-001— T-1.28 ,.,.....

This specifics the timbre which will be used for each part 1 — 6 of the patch.

Use 1
V I
VALUE ! A I
to select timbres.

Ed i t~''pat.ch.-"Par t i -'T i nbre

T i robr =T-0@ 1 s ft p i ano 2 ,

Voice Reserve

Voice Reserve 0—30

The Voice Reserve parameter is effective when using the U-220 as a multi-umbra] sound module.

Voice reserve determines the minimum number of voices (notes of polyphony) that will be reserved
for each part, ensuring that even if the maximum number of simultaneous notes is exceeded, the sound

of important parts will not be cut off.

Voice reserve is set for each part. It is not possible to make settings that would total over 30 voices for

all parts.

Ed i i- 'Pat.crv-Part 1 •V . Rsv
:

U o i c© Res© r* © — £i E 3S ••.•'
13

The Number of voices reserved The number of unreserved voices

The U-220 can produce up to 30 voices (notes) at once. Each part will sound freely until the total of

sounding notes reaches 30 voices. When the number of requested voices exceeds 30, voices will be

taken (turned off) from parts which are sounding more notes than their voice reserve setting
allows,

and these voices will be used to play the new notes. Voices will be taken in order or low priority from

parts which arc sounding more than their quota of reserved notes.

* If voices are taken from a part which playing a sound with a long release, the sound
Is
may
break off unnaturally.

58
 ZEdit Mode (Edit)

(Order of priority between parts)

Part
Rhythm 1 2 3

High
Priority
Low

If no parts arc sounding notes in excess of their number of reserved notes, then the pan to which the

request came will be the lowest priority part, and the oldest sounding note in that part will be turned
off to make- room-far the newly played irate: Iirthis case-voicts-wil! not' be taken from other pans.

* The number specified by the Voice Reserve setting is the number of voices, and is not
related to the MIDI Note Number which Is received.
* Tones which uses two voices (DETUNE, DUAL, V-MIX) will use voices and give up voices
by pairs of two voices. When using a two-voice tone, be sure to set its voice reserve
setting to an even number. {Refer to page 65, and the tone chart on page 126.)
* If more than 30 notes are requested, the timing of the notes may become inaccurate.

MIDI

Rx Ch (Rx Channel) 1—16, Off

This sets the reception channel of each part 3 — 6 in the patch.

When playing the patch from a keyboard, set the transmission channel of the keyboard to match the

reception channel of the parts you want to play. You can play parts in unison by setting two or more
parts to the same reception channel as the transmission channel of the keyboard.

When playing from a sequencer, set the reception channel of each part to match the transmission

channel of each track of data transmitted by the sequencer.

Ed i t..-PatGh..--Part 1 «"M I D
Rx Ch=0i

K.Range (Key Range) c-1—G9

This determines the range of notes (key numbers) which will be received by each part. Specify the key
range by the note names of the lowest and highest notes to be received. You can play different parts
from different areas of the keyboard by setting two or more parts to the same reception channel and
specifying a different key range for each part.

Ed i t/PatcrVPart 1 /M I D
•i Key Rang© C-1 ~ 69

Example : Split bass and brass sounds around the C4 Key

Part 1 Part2

Rx Ch 1 1

Velocity Range C-1 - B3 C4 - G9

Timbre Bass Sound Brass Sound
* Transmit channel of the keyboard : 1

59
2.Edit Mode (Edit)

Velo Thresh (Velocity Threshold) 1— 127/Above, Beiow

This determines the range of velocities for which each part will receive note data. You can piay

different sounds for notes of different playing strengths by setting two or more parts to the same

reception channel and specifying a different velocity threshold for each part.

Ed i t ..'paicrv'Par-t i .-'M I D
4 U Thresh= 1 88 Lv 1 -Above
,

Example : Softly played notes sound a fingered bass, strongry played notes

sound a slap bass.

Part 1 Part 2
Rx Ch 1 1

Velocity Threshold 99 Below (1 - 99} 100 Above (100 - 127)

Timbre Fingered Bass Sound Slap Bass Sound
* Transmit channel of the keyboard : 1

Rx Volume On, Off

This switch determines whether or not each part will receive volume control data from an externa!

MIDI device. For example you can set two parts to receive the same MIDI channel and use volume

control data from an external device to control only one of the parts.

Ed i t-'Pa tcrVPar 1 1 -"M I D

4 Rx Uoluroe=Qn

* If the reception channel of each part is turned off, volume data will not be received even if

you turn the volume reception switch on.

Rx Pan On, Off

This switch determines whether or not each part will receive pan data from an externa] MIDI device.

For example you can set two parts to receive the same MIDI channel and use pan control data from an

externa! device to control only one of the parts.

Ed i t..-'Pa tcrv'Par 1 1 ^M I D
4 Rx Pan=Off

If the reception channel of each part is turned off, pan data will not be received even If you

turn the pan reception switch on.

60
 2-Edit Mode (Edit)

Rx Hoid On, Off

This switch determines whether or not each part will receive hold data from an external MIDI device.
For example you can set two parts to receive the same MfDI channel and use hold data from an

external device to contra! only one of the parts.

Ed i t--Pa tch-'Par 1 1 .-"M I D

4 Rx Hold=Off
* If the reception channel of each part is turned off, hold data will not be received even If you
turn the hold reception switch on.

Output

Asgn (Output Assign) Dry, Rev, Cho, Dirl, Dir2

This selects the effect (chorus, reverb /delay) and output jack used by each part. Chorus can be used
in two ways, Pre Rev or Post Rev, as determined by the output mode of the effect (see page 54).

Ed i t-'Pa tci-v'Part i /Output

fls9n=Dr*y Pan=7<

Output Mode Effect Output Jacks

Dry No effect is used
Rev Only Reverb
MiX OUT
Pre Rev : Chorus and Reverb
Cho
Post Rev : Only Chorus

Dir 1 No effect is used DIRECT OUT 1

Dir 2 No effect is used DIRECT OUT 2

* If a plug is not inserted Into the DIRECT OUT jack, the output of the DIRECT OUT jack will

be sent from MIX OUT.

* The rear panel has a FIXED /VARIABLE switch. If the MIX OUT jacks are being used,
setting this switch to Fixed will set the output at maximum level regardless of the position

of the front panel Volume knob, and setting this switch to Variable will allow you to regulate
the volume using the VOLUME knob.
* The FIXED /VARIABLE switch has no effect on the sound that is being output from
DIRECT OUT. You will not be able to regulate the volume using the VOLUME knob.

MIX OUT

MIX OUT

61
2.Edit Mode (Edit)

* The FIXED /VARIABLE switch has no effect on the headphone volume. When using

headphones, you can always adjust the voiume using the VOLUME knob.
* Be sure to turn the U-220' s power off before changing the position of the FIXED/

VARIABLE switch.

The U-220 is able to independently output the sound of each part. (Multi out.} In this case, the MIX
OUT, DIRECT OUT 1 p
-DIRECT-"OUTA2ijack5naTerused:as-OUT-.l; -2- 3 l 4v>5,*and'6:-3?tre settingsfor

the rear panel OUT 1 —6 will be as follows.

Output Jack Output Assign Pan

OUT 1 (MIX L) Dry • 7<
OUT 2 (MIX R> Dry • >7
OUT 3 (DIR 1 L) Dir 1 7<
OUT 4 (DIR 1 R) Dir 1 >7
OUT 5 (DIR 2 L) Dir 2 7<
OUT 6 (DIR 2 R) Dir 2 >7

-k If the OUT 1 and OUT 2 settings are set so that the output assign is Rev or Cho, the

output of OUT and OUT 2 wili no

1 longer be independent.

After selecting the OUT. from which to output the sound, make appropriate settings for output assign

and pan.

Pan 7 >—><—< 7, Rnd

This determines the pan (stereo position) of parts 1—6.

Ed i t --'Pat c-rv'Par 1 1 .-'Output

Rs9n— Dry Pan=7<

Left Center Right

7> •*••• >< <7

* When Rnd is selected the pan position will change randomly for each note.

* When the output assign of a part is set to Rev or Cho, the effect sound will be output from
MIX L, R. If you want to pan a sound to far left or right, either set the output assign to Dry

or make setup settings so that the effect is off.

Lvi (Part Level) 0—127

This determines the volume level of parts 1 — 6.

Ed i t.--'Pa tcrv'Far t i .-'Output

i Leue 1=127

62
 ZEdit Mode (Edit)

Rhythm Part

Rhythm =# (Rhythm Set select) #1—4

Select one of the four rhythm sets for the rhythm part to use.

Edi t.-'Patcrv'R. Part

Rhy t-hp-i=R- 1 Standard bet
:

Voice Reserve 0—30

The number of reserved voices can be set for the rhythm part in the same way as for the other parts

(see page 58).

Ed i t<*Pa t ch,"R Part .

Rx Ch (Rx Channel) 1--16, Off

This sets the reception channel of the rhythm part.

Ed i t-'-patcrVR Part .

< Rx Ch-18

Level / Boost 0—1 27/On. Off

This sets the volume of the rhythm part. When Boost=Qff the volume will be the specified value, but

when Boost=On the volume will be greater than the specified value.

Ed i t .-'Pa t ch.-"R Part .

4 L e e 1 = i 28 B o os t = n

Rx Volume On, Off

This determines whether or not the rhythm part will receive volume data from an external MIDI
device.

Ed i t^Pa tcrv'R Part .

< Rx Uolurce=0n

* -If the reception channel of the rhythm part Is set off, volume data will not be received even
if the volume reception switch Is on.

63
ZEdit Mode (Edit)

Rx Hold On, Off

This determines whether or not the rhythm part will receive hold data from an external MIDI device.

Ed i t.--patch-'*R- Part.
< Rx Hold=Off

*[ If the reception-channel oi the. rhythm-:pariis =sek.-aff,^hold data.wilL-notibs. ceceiyed-.even if

the hold reception switch is on.

C. Editing a Timbre (Timbre)

This is where you edit timbre settings.

T-*** Name
Tone

Level

Pitch

Vibrato

Edited settings are temporary. If you want to keep your edited settings you must write them into

memory (page 84).

[Example operation]

)UseS}CURSOR Eto sele ct Timbre'

(blinking) and press ENJTERl
[

© Press [EDIT i) Use R1 CURSOR fFl to select "Level"

(blinking) and press ENTER
I
|

Ed i t-'T i fibre t i : .-'Leue 1

HEriM jR= ± \D=±£\ 5= ± @ XR= ±8 x
Other parameters exist

Use Q] CURSOR __
at same

to select
level
\TT/
E
Use Hj CURSOR
parameter you wish to modify
to select the
•
Use [__
the value
VALUE [__ to modify

Use|_QPART/INST[__to select the

timbre you wish to edit
* The value of the currently selected parameter will blink."

* Return to the play display by pressing [EXIT] several

times. _____
Cor hold JUMP and
I I press 0_ VALUE)

64
 2.Edit Mode (Edit)

Naming (Name)
Timbre Name
Each timbre can be given a 12-character name. Use [ ^ j CURSOR [_frj to move the cursor and

use I V | VALUE j A 1
to change the character located at the cureor.

Edit.--TiFfbrj&Ci.X<Naae... .

T i Fibre Name=B P i a no «
"2

* The following characters can be used : space A— Z a— 0-9 -/+*.,:; z = !"#$

%&*()<>{}[] _?J>

Tone
Tone (Tone Select)

This is where you select the tone on which the timbre is based. You can select a tone from the 128

tones in internal (see page 126) or from tones in a separately sold PCM card.

Ed i t-"T i fibre 111 .••Tone

Tone = I - 8 92 R P I ft M . 2
1—
A : (I) when an Internal tone Is selected, (1—31) when a PCM card (separately sold)
tone is selected

B : The number of the selected tone (1—128)

Tones are classified into the following types. The list of tones (page 126) indicates the type of each

tone.

Tone Type Number of Voices

Single A Tone consisting of a single sound

Velocity Switch
A Tone which switches between two sounds according
to on the key velocity

Dual A Tone consisting of two different sounds

Detune A Tone consisting of two sounds of different pitch

Velocity mix
A Tone which mixes two sounds according to the key
velocity

65
ZEdit Mode (Edit)

Using a separately sold sound library card(SN-U110 series)

Each card is numbered by type; 01, 02 Check the number of the card, and insert it firmly into the front panel PCM
CARD slot. You may insert a card into either the right or left slot. Up to two cards can.be used at the same time.

tr^bi^'ii

'

ii liia \i C
:H O

Set the tone select setting to the number of the inserted card and the number of the tone you want to use. The number of
tones in a card will vary according to the card. When you insert or remove a PCM card the following display will briefly
appear, and operation will halt for a short time.

Checking PCM Card...

While playing, the PCM card which contains the tones being used must remain inserted. If a card tone is selected but the
correct card is not inserted, the following display will appear and there will be no sound.

Ed i t-.--"T i rob re CI 1 ./.Tone

Tone = ©1-003 No Card!

Level

Level (Timbre Level) 0—127

This determines the voiume of the timbre.

Ed i t-/T i r«-«bre CI] /Leys 1

Leve 1=188 Uelo Sens=+7

Velo Sens (Velocity Sensitivity) -7— +7

This determines how the volume will change in response to differences in the key velocity of an

incoming note event.

Ed i t..-T i rob re C 1 3 ^Leve 1

Leve 1=100 Uelo Sens=+7

66
 2-Edit Mode (Edit)

Output Level
The voiume cahnge resulting from velocity
sensitivity for when Level = 1 00

Velocity value of the received

127 note on data

+7 Strongly played notes will be louder

not affect volume
Velocity will
—7 Strongry played notes will be softer

Ch After Sens (Channel Aftertouch Sensitivity) -7— +7

This determines how channel aftertouch (pressing down on the keyboard after playing a note) will

affect volume.

Ed i t^'T i nbr© 1 1 J .'Leve 1 .

4 Ch ft-Pter 5ens=±8

+ 7 Stronger aftertouch will increase the volume

Aftertouch will not affect volume
—7 Stronger aftertouch will decrease the volume

Env (Envelope)
The various parameters determine how the volume will change overtime.

Ed i T i Fibre CI] xLeve 1

+_..••••

"iEnv ft=±e D=±@ S=±S R-±8

A: Attack Rate (-7— +7) the rate at which the sound begins
Volume
D: Decay Rate (-7— +7) the rate at which the sustain lave! is reached
S: Sustain Level (-7—+ 7) the volume level at which the sounds is sustained.
R: Release Rate (-7—4-7) the rate at which the volume disappers

Attack Rate. Decay Rate, Release Rate Sustain Level

A+ 7 Changes more rapidly A + 7 Increased volume

\ ' -7 Changes more slowly \ f —7 Decreased volume

67
ZEdit Mode (Edit)

These envelope settings are relative to the envelope settings of the tone itself. By
modifying the envelope parameters you can make the tone change relative to the envelope

settings of the tone. Depending on the envelope of the selected tone, modifying these

setting may have no effect.

Pitch
These settings determine the basic pitch of the timbre, and how the pitch is

controlled.

* For some timbres, the pitch cannot be raised more than 1 .5 octaves.

Pitch (Pitch Shift)

This shifts the basic pitch of the tone in relation to the master tune setting.

Coarse (pitch shift coarse) - 24 — + 24 : half-steps ± 2 octaves

Fine (pitch shift fine) - 50—+ 50 : units of 1 cent ± 50 cents

Ed it--'Ti Fibre L 1 ] /Pitch

Coarse=± © F i ne=±8

1 octave = 1200 cents = 12 half-steps

100 cents = 1 half-step

Bender Range
This determines the range of the change in pitch when the bender lever is used to bend up or down.

Bend down (- 36, - 24, - 12—0) : -3,-2 octaves, half-steps( - 1—0 octave)
Bend up (0-— 12) : half-steps (0 — 1 octave)

Ed i t-'T i Fibre 1 1
1 i tch .--'P

4 Bender Ran9e= ?~2 42 ;

Ch After Sens (Channel Aftertouch Sensitivity) -36, -24, - 12— + 12

This determines how channel aftertouch will affect the pitch.

3, - 2 octaves, half-steps ( - 1—-+1 octave)

Ed i t--T i Fibre C i 1 /p i tch

4 Ch After Sens=±@

+ 12 Stronger aftertouch will raise the pitch

± Aftertouch will not affect the pitch

-12
-24
-36 Stronger aftertouch will lower the pitch

68
 ZEdit Mode (Edit)

Poly After Sens (Polyphonic Aftertouch Sensitivity) -36, - 24, - 12— + 12

This determines how polyphonic aftertouch will affect the pitch.

3,-2 octaves, half-steps( - 1— +1 octave)

Ed i t--T i Fibre C 1 ,-'P i tch

4 Poly After Sens-±8

Auto Bend
Auto bend is an effect which creates an automatic pitch-bend each time a sound is played.

Depth (- 36. - 24, - 1 2—+ 12) : Amount of pitch change

-3,-2, octaves, half-steps ( - 1~ +1 octave)

Rate (0—15) : Rate of pitch change

Ed i t..-T i nbre C 1 1 .-"P i tch

4 Outo Bend Depth =±0

E d i t.-T i fibre 1 i 1 ,-'P i tch

< fiuto Bend Rate=15

15 Rapid change in pitch

Slow change in pitch

Higher
Pitch
Depth

Lower N '

Detune Depth 0—15

This determines how greatly derune-type tones are detuned. This parameter is meaningful only when
a detune-type tone is selected.

Ed i t.--T i mbre't 1 1 sp i tch

< Detune Depth=5

69
lEdit Mode (Edit)

Vibrato
These settings determine how vibrato (cyclic change in pitch) is applied and

controlled.

Rate 0—€3
This determines the speed of the vibrato.

Ed i t-'T i fibre 1 f1 1 i brato •••%'

R a t e— 5 a W a e or fi= Tr i
'.,' '

63 Fast vibrato

Modulation becomes slower

Waveform Tri, Sine, Square, SawUp, SawDwn, Trill 1 , Tril!2, Randm! —

This selects the waveform of the LFO that creates vibrato.

Ed i t--"T i nbre C 1 3 A- i brato 1

Ra te - 5 S W a e f" or m =Tr i
...'

Tri Sine Square Saw Up Saw Dwn "Trill 1 Trill 2 Randml - 4

AA v/W rr_n AA J\N -^ -ljix tJH

Random
Waveform

Depth 0—15
This selects the waveform of the LFO that creates vibrato.

Ed i t-**'T i fibre til

^Depth=S Delay Tifie=0
i brato A 1

Delay Time 0—15

This determines the time delay from when a note is played to when the vibrato begins.

Ed i t,-T i fibre C 1 3 AJ i brato

4 Depth—S Del ay T i fie=@

Rise Time 0—15

This determines the time from when the vibrato begins to when the vibrato depth increases to the

specified value.

Ed i t^T i fibre t 1 3 .-'U i brato

4 Rise Tifie=0

70
 2-Edit Mode (Edit)

Delay Time Rise Time

Higher

Depth
Pitch

Key On

Lower

Modulation Depth 0—15

This determines how modulation data will affect the vibrato depth.

Ed i t-"T i nbre L 1 2 .-V i br ato

< Modulation DeF-th=i2 k

Ch After Sens (Channel Aftertouch Sensitivity) 0—15

This determines how channel aftertouch will affect the amount of vibrato.

Ed i t,-T i Fibre L1 1 sV i brato

i Ch After Sens=8

Poly After Sens (Polyphonic Aftertouch Sensitivity) 0—15

This determines how polyphonic aftertouch wili affect the amount of vibrato.

Ed i t--T i fibre C
i 1 sV i brato
i Poly After Sens=8

d. Editing a rhythm set (Rhythm Setup)

R~* Name
Bend

Inst Assigned to each note of the keyboard

Four different Rhythm Sets can be created. A rhythm set plays a different rhythm
sound for each note of the keyboard.
By changing the setting of a rhythm part, you can assign a different sound to each
note, and adjust the balance using pan and level.

71
 2. Edit Mode (Edit)

[Example operation]

©UsaRlCURSOft fFlto select "Rhythm"

(blinking) and press ENTE"R]
I

) Use Rl CURSOR fFl to sele ct "Inst

© Press lEDiTi (blinking) and press ENTER
j j

© Use R1 CURSOR E to s elect

Ed i t.--Rhy tr w I ns i.--To ne
"Tone" (blinking) and press I
ENTER j

Use P?] VALUER] to modify

the value

UseS)CURSOR[Hto select the

parameter you wish to modify

Use H] PART/INSTEP to select the

* The value of the currently selected parameter will blink.
note name of the recived note data

* Return to the play display by pressing fEXlT) several

times.
for hold I
JUMP I and press l~Vl VALUE.)

Naming (Name)
Rhythm Name (Rhythm Set Name)
Each rhythm set can be given a I2-character name. Use j
"-4
I CURSOR j
|
to move the cursor

and use | V |
VALUE j A \
to change the character located at the cursor.

* The following characters can be used ; space A—Z a— z 0—9 -/ + *., :; = !" #$
%&'()<>{}[] _?J>

Ed i t/Rhy thro/Name
Rhythm Name— Standard Set-

Bender (Bend)

Bender Range
This determines the range of the pitch change when the bender lever is used to bend up or down.

Bend down (- 36, - 24, - 12— ± 0) : -3,-2,-1—0 octave

Bend up (0—12) : half-steps (0—1 octave)

Ed i t..-"'Rhy t-hrn.-* Bender

Bender RarrSe^T-Z'

72
 2.Edit Mode (Edit)

Inst
These settings determine the instruments assigned to the rhythm set, and how they
will sound and be output.

Ed i t.-'Rhy thrv' I nst/Le ve 1

Bi Level =31 U Sens=+7
: . *•

When ! "is Btsplayed you can sef the mapTronf the"tJ#20's' controls.
'

I When making instrument settings, you can select the key to assign (the key to
edit) from the U-220 or from a MIDI keyboard. Use the following procedure.

U-220

MIDI IN

Keyboard
M!DI OUT

CZ]«

iiiwwm The key you wish to assign

(edit)

[Procedure}

© While holding j
JUMP [
press ! MARK~1 .

Ed i t/Rhy t-hrV I nst/Leve 1

El >LeMel=3i^J:LSeri£=+7

A The key you wish to assign (edit)

! will change to ^>

When note data is transmitted from the connected keyboard, the display or A will change to

indicate that note, and at the same time the settings B for that note will also change.

Use !
-4 i
CURSOR I I
to move the cursor to B, and use j V |
VALUE |~A~] to set the
parameter values.

By repeating steps ® and ® with the cursor in position B, you can select the keys you want to assign
(edit) from the keyboard.

* Make sure that the transmission channel of the keyboard matches the reception channel of

the U-220 (page 59). The keyboard must transmit note data on the same channel as
received by the part you are editing.

Once again, while hotding fjUMP [

press [ MARiQ and the > will return to 5.
When : is displayed, specify key numbers from the U-220 front pane!.

73
ZEdit Mode (Edit)

i Tone
These settings select the tones assigned to the rhythm set.

Tone (Tone Number, Tone Select)

This selects the tone that is played by each key. For a rhythm set, a single tone consists of a tone

number, tone name, and source number.

-: You can Also- seJect a tone-other than-the-.d-rumtone'C! •^428 Drams).

A : When using an Internal tone, select I,

When using a PCM card tone, select the card number 1—31.

B : Select the tone number (1—128}

Ed i t/Rhy thn/ 1 ns-tsTorn

Bl ' 1-128 DRUMS
B

Source (Source Number) 1—127

Each rhythm tone (tone no. 1-128 Drums) has tone numbers assigned to it (page 129).

This parameter determines the key number of the tone which corresponds to the note name of the

received note event.

Ed i t- .-•' R hi y t- h n •••'*
I n s t»-" T o n e
B1 * So ur ce=3S M u te= f
Note
tnam* of the Key number assigned to the rhythm
moved not* data tone (paoe 123)

Mute B1— D7
This parameter allows the speciried tone be muted by a received note event of the specified key

number.

Ed i t,.'"Rhy thr-v' I nst-^'Tone

'Mi «Source=42 Mute=
-(Example) ..-The sound -that- began -playing in response to
a A# 2 note event will be muted by a F # 2
note event

74
 2.Edi1 Mode (Edit)

• Level

Level 0—31
By adjusting the volume level of each key, you can regulate the volume balance with the sounds of

other keys.

£ d i t-<.R hy t-h ra .-:I cis.t /L eye 1

BI : Leye 1=31 U . bens=+7

V.Sens (Velocity Sensitivity) -7—+ 7

This determines how the volume will change in-response to the velocity of a received note event.

Ed i t/Rhy t-hr-V I nst/"Leve 1

Bl : Level =31 U. Sens =+7

+7 Strongly played notes will be louder

Velocity will not affect the volume
-7 Strongly played notes will be softer

Output Level
The volume cahnge resulting from velocity
127
sensitivity for when Level = 1 00

100

Velocity value of the received

127 note on data

75
ZEdit Mode (Edit)

Env Mode (Envelope Mode) Sustain, NoSustain

Sustain : Diminish the sound after receiving No Sustain : Ignore note off messages
a note of message

Voiume Volume

A
Time Time
Key on Key off Key on

Ed i t»-"Rhy thrV I nsVLe ve 1

Bi HEny Mode^NoSustain*

When playing the rhythm part from a rhythm machine (or a sequencer that has a rhythm track) that

transmits note events with a short gate time (i.e., if the note off messages come immediately after the

note on messages), you should set this parameter to NoSustain.

Env (Envelope)
This adjusts the volume envelope (the volume change over time).

A : Attack rate — +7){ -7

D : Decay rate - 7 — +7)(

R : Release rate - 7 — +7) (

J
+7 Faster change

—7 Slower change

Ed i i.-'Rhy thr-V I nst»--'l_eve 1

Bi .NEn'v' ft=±8 D=±8 R=±0

These settings are relative to the envelope settings of the tone. Depending on the
envelope of the selected tone, modifying these setting may have no effect.

Pitch

These settings determine the pitch of the instrument assigned to each key, and how the pitch will

change.

* For some Instruments, the pitch cannot be raised more than 1.5 octaves.

76
 2-Edh Mode (Edit)

Pitch Shift

This adjusts the pitch of the tone.

Coarse (pitch shift coarse) -36, - 24, - 12— + 12

- 3, - 2, - 1— +1 octaves(half-step units)

Fine .(pitch . shift, jfine) .--SO-^*^0.:-iinlts..oU.-cant

Ed i t ."'Rhy thr-V I nst/P i tch

B1 C oarse=± @ F i n e=±
:

Ch After Sens (Channel Aftertouch Sensitivity) - 36, - 24, - 12— + 12

This determines how the pitch will be affected by channel aftertouch messages.

Ed i t.--Rhy thfi.-' I nst--'P i tch

Bl MCh After Sens=±8 i^

+ 12 Stronger aftertouch wiii raise the pitch

± Aftertouch will not affect the pitch

-12
-24
-36 Stronger aftertouch wiil lower the pitch

Poly After Sens (Polyphonic Aftertouch Sensitivity) -36. -24, - 12— + 12

This determines how polyphonic aftertouch will affect pitch.

Ed i t-'Rhy t
Bl s-^Poly fift
r W I nst.-'P i tch
Sens=±8 I*

Pitch Randomize 0-15

This determines the amount of random pitch change that will occur each time a note is played.

Ed i t-''Rhy t hr-v" I nst-'P i tch

B1 < P tch Rand o m i ze= 8
: &•

15 Much random pitch change

No random pitch change

77
 2, Edit Mode (Edit)

Auto Bend Dpth

Auto Bend Rate
The auto bend effect creates an automatic pitch bend for each note.

Ed i t--'Rhy t hrv" I ns t .'*P i tch

Bi M
flu to Bend Dpth=±@

Ed i t^Rhy t I nst-'P i tch

Bi MRu to Bend Rate=
hw

Higher A
Pitch
Depth

Lower V
Depth (- 36. - 24, - 2—+
1 12) :

the amount of pitch change ( - 3, - 2, - 1 —+1 octaves)

Rate (0—1 5) : the speed of pitch change

15 Rapid phch change

Slow pitch change

Detune Depth 0—15

This determines how greatly the pitch of the two sounds in a detune-typc tone wili be spread apart.

This parameter is effective only when a detune-type tone is selected, (see page 65, 126.)

Ed i t.--Rhy thrv" I ns t--'P i tch

Bi 14 Detune Depth =8

78
 2.Edit Mode (Edit)

Output

Output (Output Assign) Dry. Rev, Cho, Dirl

This selects the effect (chorus, reverb /delay) for the tone.
Chorus will be applied according to the
chorus output mode (patch) settings (page 54).

Ed i t SRh y t- h m .<I ns t SB u t But

Bl fts9ri=Dr-y
: Pan— 7< k

Output Mode Effect Output Jacks

Dry No effect is used
Rbv Only Reverb
MIX OUT
Pre Rev ; Chorus and Reverb
Cho
Post Rev : Only Chorus

Dir 1 No effect is used DIRECT OUT 1

* When a plug is not inserted into the DIRECT OUT jacks, the sound will be output from MIX
OUT even if you have selected Dir 1

* DIRECT OUT 2 cannot be used.

Pan 7 >— X— <7, Rnd

This determines the pan (stereo position).

Ed i t -'Rhy t hr-v" I nst .--'Output

Bi ftsgn=Dry
s
Pan=7<

Left Right

O Center

o
7> >< <7

'* When Rnd Is selected, pan-wiil change randomly each time a note Is played.

79
 3. Data Mode (Data)
In data mode you can store edited settings and organize data. This mode includes functions that allow you to
"write", "transmit via MIDI", or "initialize" edited patches or timbres, and functions such as ROM play and
"MIDI monitor".

a. Write procedure (Write)

This operation stores edited settings by parameter group into the memory area. In
addition to the normal write operation, "exchange" and "copy" operations are
provided to help you organize you data.

Memory Erea

P-01

m ffl

*«.
^.^J IT"-
'» mm. T emporary Area

mM** Temp : P-01

*
^.

* It is not necessary to write Setup settings.

The Renumber function

A patch selects sounds by specifying a timbre number for each part. When you edit a timbre
used by a patch and then write that timbre into another timbre memory, the patch settings
must
be modified so that the memory of the newly edited timbre is specified.

This is what the renumber function automatically does. When you write an edited timbre into
another timbre memory, the renumber function will modify (renumber) the timbre selections in

each patch that uses the newly edited timbre. If you use the renumber function, you won't have
to modify the timbre selections for patches in the memory area.

The renumber function can also be used when copying.

(Example) If after editing timbre T-001 you write or copy into memory
it area
T-002, all patches P-01—P-64 which specify timbre number T-001 will
be modified to specify timbre number T-002.

80
 3. Data Mode (Data)

[Example operation}

® Use H3 CURSOR [ El to select "Write"

(blinking) and press EN TE"R]
!

© Press I
DATA .
) Use H] CURSOR
(blinking) and press JENTER]
E to select "Patch"

Data/Wr i te. '"Patch

Wr i te Temp P- 1 l v-»ll v :
• Use [2] VALUER to modify
the value

Use Rl CURSOR fFl to select the

parameter you wish to modify

* The vaiue of the currently selected parameter will blink.

After specifying the value, press | ENTER |

Da ta.--1.0r i te.--"Patch
Sure? EUfiLUE±3 v C EXIT

You will be asked if you are sure.

* Check the settings once again. If you decide to change the settings then press |
EXiT
and you will return to the write setting display.

If you are sure that you want to write the data, press VALUE A_j |
.

Data--' Wr i te.-'Pa*toh
Fu nc t i on C o mp 1 e ted
and after few seconds

Da ta.--Ur i te.-'Patch
Write Temp: P- 11 *11

Toreturn to the play display press EXiT

| |
several times (or hold pUMP~"] and press
TV1 VALUE).

This completes the procedure.

81
3.Data Mode (Data)

Patch Write, Exchange, Copy, Part Copy

Edited settings are temporary. If you select another patch, new data will be read

into the temporary area and the settings of the previous patch will be lost. If you
want to keep your edited settings you must use the patch write operation.

•
Memory Area
Patch :P-01-P-64

I
MB |
P-30 j

..K68S
I

j
p-10 j |
P-20

Read a patch "

* *
*
y
temporar
* *
* * *
*
*
*
Temp: P-10 * *
m *
*
j
Part 1 |
*
*
msm {
t
*
j
Pan 2 T *
|

*
•
• *

* Patch settings in the temporary wiii be preserved even when the power is turned off.

Write
This operation writes edited patch settings into a patch in the memory area.

D at. a ••'
Ul r- i t e --'P a t ch
Write Tenp:P-ii -^i i
V

In the temporary eree

i

Tha number of the patch currently

X The patch number of the
destination {memory are*)

82
 3.Data Mode (Data)

Exchange
This operation exchanges the edited patch settings with a patch in the memory area. This allows you to

compare the edited patch settings with the patch settings in the memory area. To compare the edited

and unedited patches, specify the same patch number when exchanging.

* After exchanging, the patch settings In the temporary area will automatically become the

-patch .in. the memory, area.

Data.-"Wr i t-e.--Patch
Exchan'S e Te pip P-
——i i *-* i
s 1
X
A"

Patch number now

temporary area
In tha
XPatch numbar of the exchange destination
(memory area)

Copy
This function copies the settings of a specified patch in the memory area to another patch number. Or
you can specify a range of two or more patch numbers to be copied to a specified patch number and

following patches.

Data.--l.Jr- i te---Patc-h
Copy P-li-25 +11
t -1
Beginning
\lr\aEnd \
•
Beginning of the copy
Range of oaten numbers destination patch numbers
you wish to copy

Part Copy
This function copies the settings of a part in the currently edited patch to another part in the patch.

This is convenient when setting two parts in a patch to the same settings.

Data.-'l<ir i te^'Patch
Copy
Part-

The part now

T—
Partl^-Part-2

being edited The copy destination part

* Copied part settings are temporary. If you want to keep the copied part settings you must
use the patch write operation.

83
3.Data Mode (Data)

Timbre Write, Write + Ren, Exchange, Copy, Copy + Ren

Edited timbre settings are temporary. If you select another timbre, new data will be

read into the temporary area and the settings of the previous timbre will be lost. If

you want to keep your edited settings you must use the timbre write operation.

Memory Area

j Temp:P~10 |

Part 1

Timbre: T-010

Write
This operation stores edited timbre settings into a memory area timbre.

Data/Wr i t e*"T i Fibre C 1

U)r i te Trap T-8 1 :

i = 1 *@ 1
x
\
Timbre number now In the Timbre number of the writing destination
temporary ereo {memory aree)

84
 3.Data Mode (Data)

Write + Ren (Write + Renumber)

This operation stores edited timbre settings into the memory area and at the same time re-writes the

timbre numbers of all other patches which specify that timbre.

Data.''Ulr i t,e--"T i rob re til

Ur i te+Ren Trip 5
-
T-@ 1 1 *8 V1 i -
:
.

Timbre number now in the

\
Timbre number of the writing destination
temporary area (memory area)

Exchange
This operation exchanges the edited timbre settings with timbre settings from the
memory area. This
allows you to compare edited settings with settings in memory. To compare the edited and unedited

settings, specify the same timbre number for exchange.

* When the exchange operation Is executed, timbre settings in the temporary area will

automatically become a timbre in the memory area.

Da"ta.-"ljJr- i t-e/T i Fibre C i 3

Exchange Tpip s T-8 1 1 **@ V1
— i

temporary area
=====

Timbre number now in the

XTimbre number of the exchange destination
(memory area)

Copy
This operation copies a specified timbre from the memory area into another timbre in the memory
area. It is also possible to specify two or more timbres to be copied into the specified destination and
the following memories.

Data-" Wr i t.e.-T i fibre

Copy T-8 1 1 -025
1
Beginning
linnina
—— End
Range of timbre number*
you want to copy
I
•*© 1
l-

Beginning of copy
destination tlmbr* numbers

Copy + Ren (Copy + Renumber)

This function copies a specified timbre from the memory area into another timbre in the memory area,

and at the same time automatically re-writes the timbre numbers for all patches which use that timbre.

Da ta.--"Wr i t.e/"T i Fibre

Uopy+Ren T-8 1 1-825 *8H
Beginning End Baglnning of copy
Range of timbre numbers destination timbre numbers
you want to copy

85
 3. Data Mode (Data)

Rhythm Set (Rhythm Setup) Write, Write + Ren, Exchange, Copy, Copy + Ren

Edited rhythm set settings are temporary. If you select another rhythm set, new
data will be read into the temporary area and the settings of the previous rhythm set
will be lost. If you want to keep your edited settings you must use the rhythm set
write operation.

Memory Area
Rhythm Set : R-1 - R4

P-10 1
R-3 1
I
w i

Part 1 ,— -BBS?...
}::::
mmmrn

Write

This operation stores edited rhythm set settings into a memory area rhythm set number.

Data^'Wr i t.e.--"Rhy thr"'i

Write TewpsR-i *l
Rhythm set now in the
\
Hhythm set a1 the writing destination
temporary area (memory areo)

86
 3.Data Mode (Data)

Write + Ren (Write + Renumber)

This operation stores edited rhythm set settings into the memory area and at the same time re-writes

the rhythm set number of all other patches which specify that rhythm set.

Data.-"Wr i te.--Rhy thro

Ul r i t e + Ren T e ro p R - i *1 :

Rhythm ut now
temporary area
in the
X Rhythm set of the writing destination
(memory area)

Exchange
This operation exchanges the edited rhythm set settings with rhythm set settings from the memory
area. This allows you to compare edited settings with settings in memory. To compare the edited and

unedited settings, specify the same rhythm set number for exchange.

Data.--l.iJr- i te-'Rhy thro

E x oh Bn 9e T enp s R — 1 *-
-A,

Rhythm set now in the

^T Rhythm set of the exchange destination
temporary area (memory araa)

Copy
This operation copies a specified rhythm set from the memory area into another rhythm set in the

memory area. It is also possible to specify two or more rhythm sets to be copied into the specified
destination and the following memories.

D ata Wr i t e Rh y t h ro
.-' .-'

Copy R-i *1
i v.

Rhythm sat numtiar you want

to copy
\ Copy destination rhythm sat number

Copy + Ren (Copy + Renumber)

This function copies a specified rhythm set from the memory area into another rhythm set in the

memory area, and at the same time automatically re-writes the rhythm set number for patches
all

which use that timbre.

Data.-'Wr i te/Rhy thro

Cop y +Ren R- i * 1
Rhythm set number you
* X\
,.

Copy destination rhythm set number

want to copy

87
3. Data Mode (Data)

c. Bulk Dump
The dump function allows you to set another U-220 to the same settings, or to

transmit data to a sequencer for storage. Data stored in a sequencer can be

transmitted back to the U-220 to restore the previous setup.
Data is transmitted as a system exclusive message.

MIDI IN •

MIDI OUT

Transmitting device Receiving device

U-220 (MIDI .sequencer, another U-220 etc.)

The dump function transmits data one way. In one-way transmission, the data is transmitted
regardless or the condition of the receiving device.

* Be sure to set the transmitting device and the receiving device to the same device ID

number. If the two device IDs do not match, the data wiii not be received (see page 48).

Set the exclusive reception switch of the receiving device on. (Rx SysEx = On see page
:

48.}

* It is not possible to transmit the setting of the exctusive reception switch or the value of the

device ID.

[Example]

) Use H] CURSOR
(blinking)
E
and press ENTER
j
[to sele ct "Bulk*

) Use Rl CURSOR [F1 to sele ct "Temp"

© Press fDAtTj
1

(blinking) and press ENTER I I

Data.--*Bu 1 k .-"Temp
Bulk Dump Ter-tp fill"
*
"^s
Use [$7] VALUER] to modify the value

*The value of the currently selected parameter will blink.

After you have $tt the values, press [ ENTER

88
 3.Data Mode (Data)

D at- a--"Bu 1 k -**T e pi p

Tr ans n i it. i n9 b y sEx

* Data Is being transmitted.

l5ata.<Bulk.-Ter-iP :

Fu net i on Co p 1 e t. © d -

and after few seconds

Da t a s B u 1 k Ten p -•"

Bulk Dump Tenp fill

To return to the play display press [ EXIT j

several times

( or hold j
JUMP |
and press pV~1 VALUE ).

This completes the procedure.

Data Groups for Transmission

Type of Data Data Group Transmitted Data

fll 1 fill ail data in Temp, Memory, Setup

fil 1 all Setup data
F'arar'i Master Tune, Effect, LCD, MID! (except maps)
Nap /ft 11 all maps
Setu p Ma p^ Patch Map Patch maps : select from 1, 2, 3, 4, 1—4
M a p s T i nbre Map Timbre maps : select from 1, 2, 3. 4, 1—4
Map •Rhythm Map Rhythm maps : select from 1, 2, 3, 4, 1—4
Map/R. Inst Map Rhythm Inst maps : seiect from 1, 2, 3, 4, 1—4
Tenp fill all data in the temporary area

Patch the patch in the temporary area

Timbrel timbre assigned to part 1

Timbre2 timbre assigned to part 2

T i nbr©3 timbre assigned to part 3
Tenp Tinbr-©4 timbre assigned to part 4
TimbreS timbre, assigned to part 5
TimbreS timbre assigned to part 6
Timbre 1-6 timbre assigned to part 1—6
Rhythm Set rhythm set assigned to the rhythm part

fill all data in the memory area

Patch Patch (seiect from 1—64)

Menory Ti fibre Timbre (select from 1—128)
Rhythm Rhythm Set (select from 1—4)

89
 3.Data Mode (Data)

U-220
T~ Temporary Area"

Timbre
I
— Setup Area"

Master Tune
Effect
LCD Contrast
MID!

Rhythm Set

MIDI OUT
Map SettJpl

Patch Map
Timbra Map
Rhythm Mao
Rhythm Inst Mao
(mufti

Ail data (AH)

All

This operation transmits ail data from the setup area, memory area, and temporary area.

Transmitted data : Temp, Memory, Setup

Data^Bulk.--fill
Bulk Dump fill

90
 3.Data Mode (Data)

Setup data (Setup)

All

This operation transmits all setup data-

Transmitted data ; M.Tune, Effect, LCD, MIDI, Map

Data^Bu 1 k --'Set up-- ft 1

Bulk Dup'ip Setup fill

Param (Setup /parameter)

This operation transmits all parameter values in the setup data other than maps.

Data-'Bulk-'S Jetup-'Parar-i
Bulk Dur-jp £ Setup ParaFi

Parameters other than maps cannot be transmitted individually.

Map /AH Patch, Timbre, Rhythm, Rhythm Inst

This operation transmits all map settings.

Da ta-'Bu 1 k sSe t up.-'Map^R 1

Bulk Dump Map fill

Map /Patch Map1, 2, 3, 4, 1—4

This operation transmits patch map settings.

Data-'-'Bu 1 k --"Setup --"Ma p/Ptch

Bulk Dufip Patch Map 1-4

Map /Timbre Map!, 2, 3, 4, 1—4

This operation transmits timbre map settings.

Data/Bu 1 k /Setup^'Map/Tr-'ibr
Bulk Dump Timbre Map 1-4

Map /Rhythm Ma pi, 2, 3, 4, 1—4

This operation transmits rhythm map settings.

Da ta.-'Bu 1 k --"be tup.-"Map^Ry tm

Bulk Dump Rhythm Map 1-4

91
3.Data Mode (Data)

Map/ R.Inst (Rhythm Inst) Map1, 2, 3. 4, 1—4

This operation transmits rhythm instrument map settings.

Data-'Bu 1 k .•beiup.-'riap.-'R I n:
Bulk Dump R.Inst Map! -4

Temporary (Temp) AH, Patch, Timbrel, 2, 3, 4. 5, 6, 1—6, Rhythm Set

This operation transmits data from the temporary area (the data being edited).

Dat.a.--"Bu 1 k ••••"Temp
Bu 1 k D u m p T mp fill

Memory (Memory)
All Patch x 64, Timbre x 1 28, Rhythm Set x 4
This function transmits all data from the memory area.

Data.--'Bu 1 k /Menory/fl 1
Bulk Du pi p M e or y fill

Patch 1—64
This function transmits patch settings from the memory area. Specify the patch —64
1- that will be
transmitted.

Data.--Bu 1 k .-'Me mo ry.••'Patch

Bulk Dump P-81-2©

Timbre 1—128
This function transmits timbre settings from the memory area. Specify the timbre 1—128 that will be
transmitted.

Data/Bu 1 k .•••t1emory/T i mbre

Bulk Dump T-88 1-820 -

Rhythm 1—4
This function transmits rhythm set settings from the memory area. Specify the rhythm set 1 —4 that

will be transmitted.

Data^Bu 1 k • Memory.•••Rhythm
Bulk Dump R-l-3

)2
 3.Data Mode (Data)

c. Initialize
These functions initialize data.

* Initializing setup or jump page data will restore it to the factory settings.

* When temporary area data (the data being edited) is initialized, it will be set to the values
fisted on page 1 30.

* To set all data to the factory settings, consult your nearby

.Roland service, center.

[Example operation]

) Use S3 CURSOR QEjto select "Init"

(blinking) and press ENTER I I

©Press! DATA
) Use S) CURSOR Q t) to sele ct "Temp"
I

(blinking) and presslENTER"!

Data.-' I n i t/Tenp
—nI i iia 1 i ze
—
Ter*ip
— ,
fill
^
^T
Use [£] VALUE Q] to modify the value

*The value of tha currently selected parameter

will blink.

After you have set the values, press |

ENTER j

Data.-'' I n i t .-"Tenp
Sure? CURLUEA3 .•-'
C EX IT 2

* The display wilt ask you for confirmation.

* Check the settings once again. If you decide to modify the settings then press | EXIT |
and
you will return to the setting display.

If you are sure you want to initialize the data press VALUE j A I

Data--' I n i t.-'Ter-ip
Funct i on Corp 1 eted
and after a few seconds

Data/ 1 n i t-^Ternp
Initialize Temp fill

93
3-Data Mode (Data)

To return to the play display press [ EXIT"] several times,

(or hold j
JUMP |
and press [£] VALUE ).

This completes the procedure.

Data Groups for Initialization

Type of Data Data Group initialized Data

mi fil 1 alt data in Temporary and Setup, and jump page data
fill ail setup data

Pa ran Master Tune, Effect LCD, MID! (exsept maps)

Map ."fill all .maps

Setup Map /Patch Map Patch maps : select for 1, 2, 3, 4, -4

1

Map / T i nbre M a p Timbre maps : select for 1. 2. 3, 4, 1 —4

M a / R hy t hm M p Rhythm maps ; select for 1, 2. 3. 4. 1—4

Map/R. Inst Map Rhythm Inst maps : select for 2, 3, 4, 1—4

1 ,

Temp fill all data in the temporary area

Patch the patch in the temporary area

Part 1 settings for part 1

Part 2 settings for part 2

Part 3 settings for part 3

Part 4 settings for part 4

Part 5 settings for part 5
Part 6 settings for part 6

Te p r-'i
Rhythm Part settings for the rhythm part

Ti Fibre i timbre assigned to part 1

Timbre 2 timbre assigned to part 2

Timbre 3 timbre assigned to part 3
Timbre 4 timbre assigned to part 4
Timbre 5 timbre assigned to part 5

T i mbre 6 timbre assigned to part 6

Timbre 1-6 timbre assigned to part 1—6

Rhythm Set rhythm set assigned to the rhythm part

-J unp
Jump Pa9e jump page displays you set
Page

94
 3-Data Mode (Data)

All data (All)

All

This operation initializes all data in the temporary area, all data in the setup area, and the jump page
data.

initialized data : Temp, Setup, Jump Page

Datamini infill
Initialize fill

Setup data (Setup)

This operation initializes all data in the setup area.

Initialized data MTune, Effect, LCD, MIDI, Map

Data-'" I n i t-' Setup. -'ft 1

I n i t i a 1 i ze Setup fill

Pa ram (Parameter)
This operation initializes all setup data parameter values except maps,

Initialized data : M/Tune, Effect, LCD, MIDI

Data-in it--' SetuFv-Par-ar-i

Initial ize Setup Par-ap-

* It is not possible to initialize individual parameters other than maps.

Map /AH Patch, Timbre, Rhythm, Rhythm Inst

This operation initializes all maps.

Data--' I n i t/SetuFv-flap^fl 1
Initialize *Map Pill

Map /Patch Mapl. 2. 3, 4, 1—4

This operation initializes patch maps.

Data/ 1 n i t-'Se tup/Map^Ptch

Initialize Patch Map 1-4

95
3. Data Mode (Data)

Map /Timbre Mapl, 2, 3, 4, 1—4

This operation initializes timbre maps.

Data.-- I n i t--'SetuF.-'Map.-'Tnbr
I n i t i a 1 i ze T i Fibre Map 1 -4

Map /Rhythm Mapl, 2, 3,4. 1—4

This operation initializes rhythm maps.

Data.-" I n i t/Setup^MaF^Rytm
Initialize Rhy th r«t Ma p I -

Map/RJnst (Rhythm Inst) Mapl, Z 3, 1—4

This operation initializes rhythm instrument maps.

Data-- 1 n i t-"Se tup^Map^R I ns

Initialize R - 1 ns t Map 1 -4

Temporary (Temp)
Alt, Patch, Parti, 2, 3, 4, 5, 6, Rhythm Part, Timbrel, 2, 3, 4, 5, 6, 1—6,
Rhythm Set

This operation initializes data in the temporary area (the data being edited),

Da t a s I n i t s Temp-
Initialize Temp fill

Jump page
Jump Page
This operation initializes the jump page settings.

Data^ I n i t-^ Jump Pa9 e

In'i t ial ize Ju'PtP""Pa9<

96
 3. Data Mode (Data)

d. Utility
[Example operation]

© Use Rl CURSOR {"Fl to sele ct "Util"

(blinking) and press ENTER] i

© Press I
DATA :
Use H] CURSOR
(blinking) 3 s7ET
E
and pressTENTgfTl
to se lect "ROM Play"

® To start the song press !

ENTER ]
'-.
xtj-o Tstop-'lhe ''s ong -o res s- l-EXIT '

P 1 ay i Stop
|

Data.--Ut i 1 .-•ROM
Song #2 U MIGHT BE THE 1
X\
® Use [RVALUE [A] to select a song

*The value of the currently selected parameter wijl blink.

* Return to the play display by pressing l"£"XiTi several

times.
(or hold IJUMP and l press OZ] VALUE.)

ROM Play
The U-220 has two demonstration songs that take advantage of its multi-timbral capabilities. For

details refer to "Listening to ROM Play" (page 5).

Data/Ut i 1 xROM P 1 ay : Stop

Son-3 #1 HIGHLANDER

MIDI Monitor
The MIDI Monitor function allows you to view the data that is being received by
the U-220 from an external MIDI device.

The MIDI Monitor puts the data received from MIDI IN into a monitoring buffer,
and displays it in hexadecimal form. The buffer can hold 256 bytes.
When new data is received, the old data will be overwritten starting with the oldest
data.

Bun/Stop
Mode

Da ta/Ut i 1 •M I D I Stop
256 s -4 „ — ——— —— . ,
:
, .
s
_
Rtf

Display Pnintsr Data

In the MID] Monitor display, you can set the following parameters "to determine' how MIDI data will

be monitored.

RUN /STOP
While this is set to RUN, incoming data will be received into the monitor buffer. Data will continue to

be received even if you move to another display.

When this is set to STOP, data reception will stop.

»Use | A CURSOR I | I
to select Run /Stop and usej V | VALUE fAl to witch the
setting.

97
 J.Data Mode (Data)

Mode (Rxl, Rx2)

This determines how data will be received into the monitor buffer.

Rx1 : All incoming MIDI data will be monitored

Rx2 : All Incoming MIDI data except for realtime messages will be monitored

.i.When^ouxjbange.me^ode^etting^alWata^the-ijufler-rWillifl.-elearfid.-

* Realtime messages are used mainly to synchronize sequencers and rhythm machines.

Active sensing is Included in realtime messages.

* Use |
< CURSOR [ |
] to make Rxl or Rx2 blink, and use j~vl VALUE f~Al to switch

the. monitoring mode.

About the MIDI" monitor Display

Display Pointer The display pointer indicates the position in the data buffer which the currently displayed data

occupies. If the display pointer is 256, the most recently received data is being displayed.

If new data is received during RUN, the display pointer will automatically be set to 256.

Use I
-4 I PART /INST I
j
to move the display pointer and scroti through the entire

data buffer to see ail'the data in the buffer.

Six bytes displayed

:

Pointer: 256 255 254 • 2 1

**-* H-:H-:-» Jfcsf:-* **-*.*:.•+:-» and finally disappears

As new data is recived, old

data moves back ...

The most recent MIDI data is located at pointer 256

Data Lei el MIDI data is displayed in hexadecimal notation. " " indicates that
MIDI data has not yet been

received. One of the following symbols will be displayed in front of each MIDI data byte to indicate

the type of data.

00— 7F, F7 (data bytes, EOX)

80— F6 (status bytes)

F8 —FE (realtime messages)

A, B If data exists in the buffer before or after the displayed data, u 4 "
or " " will
be displayed to

indicate this. Immediately after MIDI n. '

data is received, B will show ":+:

* When the power Is turned on, the monitor buffer will be empty and the monitor will be set
to STOP.

98
 ~\

Chapter

This chapter explains basic procedures for various operations.

Refer to this chapter when you want to create your own sounds
or use the performance functions.
/. How to adjust the volume

How to, adjust the.volume ;

*Hpw; readjust the volume-of j

by playing.notes;Strongiy :|
therentire U-220
-or softly'-'-' *
'
'

Modify the
Adjust the VOLUME knob.
velocity sensitivity.

Ed i t-'T i Fibre til /Leue 1

Level =108 Uelo Sens—Illi
/How- to. adjust thefvolume
by pressing downtarfhe +7 Stronoly played notes will be louder

^eyb'oafd' M^^^S^ -.
;

—7
Velocity will not affect volume
Stronoly played note* will be softer

Modify the channel

aftertouch sensitivity. HnMI

Ed i t/T i robre C 1 3 .-"Leve 1 Modify the timbre level.

L e e 1 — 1 0® Ue 1 o Sens=!
'•.-'

• CURSOR CE)

Ed it/Ti Fibre [ 1 VLevel

Ed i t.--T i Fibre L 1 1 .-'Ley e 1 Level =im Uelo Sens=+"
4 Ch Pif't-er bens=BBB
+7 Stronoer sftertouch will increase the volume
Aftertouch will not affect volume
—7 Stronger aftertouch will decrease the volume

iHowlioadjustithelbalanG
itf^&cmm m
Uet:

Modify the rhythm inst

level.

Ed i t..'"Rhy thins I nst^Leve 1

Bl :Lewel=Bffl» U.Sens=+7*

100
 I.How to adjust the volume

Hw to adjusMe^ievefbfP
..part . . . m ,, j
rt

How to adjust the level of a How to adjust the level of

part 1 —6 rhythm part

Modify the part level.

Modify the rhythm part
level.

Ed i t-'FatcfvPart 1 .•-"Output Editz-patcrVR. Part

ftsgn=Dry Pan=?< R hy th n = R - 1 : Stan d a r d Set

— CURSOR Qjg — cursor nn

Ed i t-'-patcrv'Part I .-'Output
< Level -m Edit.""Patch.""R.
< Lew© = 1 2
Part
B os = n

101
2. How to change the output
How to use the MIX OUT
In the output assign setting display, select one of the following settings.

Ed i t /Pat oh/Part 1 /Output

Output Assign Effect Output Jacks

Dry No effect is used

Rev Only Reverb
MIX OUT'
Pre Rev : Chorus and Reverb
Cho
Post Rev : Only Chorus

Pre Rev : reverb Is added to the sound processed by chorus

Post Rev : reverb Is not added to the sound processed by chorus

Pre Rev Post Rev

Dir2;
~>L Dir2 UIKhC OU 2
J R DIRECT OUT 2 Z *; 1 1

"> L DIRECT OUT 1

Dirl" Dirl ?!; UIHbCI OUI 1

Dry Dry

" Reverb J > *. 1

MIX OUT
;
^ D MIX OUT
i
Rev \ t \ '
* /Delay
•*. i

t V
Reverb /
Rev »

t ^ o
/Delay / i *"»
Cho"? Chorus

Cho Chorus

How to independently output a specified part

You can output all parts independently by using MIX OUT (L/R), DIRECT OUT 1 (L/R), and

DIRECT OUT 2 (L/R) as multl outputs. When using these as multi outputs, the output will be

mono.

In order to use multi outputs, specify the output assign and pan setting in the output assign

display for each part as follows.

Ed i t/Patch/Part i /Output

Output Assign Effect Output Jacks

Dir 1 No effect is used DIRECT OUT 1

Dir 2 No effect is used DIRECT OUT 2

102
 2.How to change the output

How to independently output all parts

You can output all parts independently by using MIX OUT (L/R), DIRECT OUT I (L/R), and
DIRECT OUT 2 (L/R) as multi outputs. When using these as multi outputs, the output will be

mono.

In order to use multi outputs, specify the output assign and pan setting in the output assign

-display -for-each;part-as follows,

Ed i t^'Pa tcrv'Part 1 .•-•Output

Rsgn==MBS FanNHK

Output Jack Output Assign Pan

OUT 1 (MIX L) Dry * 7<
OUT 2 (MIX R) Dry it >7
OUT 3 (DIR 1 U Dir 1 7<
OUT 4 (DIR 1 R) Dir 1 >7
OUT 5 (DIR 2 L) Dir 2 7<
OUT 6 (DIR 2 R) Dir 2 >7

•k If you set output assign to Rev or Cho for OUT 1 and OUT 2, the output from OUT 1 and
OUT 2 will no longer be Independent

103
3. How to select patches

How to select patches from

.the U-220. panel ; ,

P-SUs ft co us t Piano £881 3

RX I Si 181 1.01.1.01 101 1.81 J. IS

Use [v] VALUE [£] to select.

How to select -patches from

*To return to the play display press [ EXIT sevaral
I

a,.connected,keyboard
times.
(or hold iJUkrtP l and press EQVALUE.)

How to select the patch

corresponding to each How to select a sptific patch
program change number

Map settings
Edit.--Set.up.-MIDI
4Rx Patch Changed .

Ed i t/Se tuF-/Map.-'Patoh
® Set the patch change reception switch to "Dir".

CD Set the patch map as explained on page 50.

Edit..."SetuF.-t1IDI
Rx Control Ch :

Edii."'Setup.-'MIDI
•4Rx Patch Change^RSSHHI >
Set the control channel.

Set the patch reception switch to the number of the

map you set.

Press i
EXIT several times
j to returm to the play
display. Edit--Setup/MIDI
(or hold (Jutl and press O VALUE .) Rx Control Ch=

<5) Set the control channel.

Transmit a program change from the keyboard on

the control channel you set in step©.

@ Press EXIT several times to returm to the play

i I

display.
Cor hoid QTOfJand praaalVl VALUE .)

© Transmit a program change from the keyboard on

the control channel you set in step ©,

104
4. How to change the current sound

Howto change the sound

,from the.Ur220 panel

How to change the rhythm How to change a specific

How to change the sound
set instrument in- theThythm' set

Select a timbre Change the rhythm set and

Select a rhythm set
tone select

Ed i t-y Patch.•••'Pari 1 si i Fibre E d i ts Rhyth pis I ns t s 1 o n

Timbr^T-SWffis ft. Piano 2 Bl = S-9ES DRUMS

Ed i t-"Paich.--R Part .
Rhythn=4BHis Standard Set>

Change the^ound!^
,bu;areplaying
; '™

Set a controller

Ed i t.-"Patch^Ctr 1

(D Set the control change number.

© Select the parameter to be controlled as explained on

page 56.

@ Set the channel on which the connected keyboard will

transmit cotrol change data to match the reception
channel of the U-220 part wish to change.

© Move a controHer (slider, etc) while playing the

keyboard.

•If you are not usmg this setting, set the control change
number to Off.

105
4.How to change the current sound

How to change the sound

from a connected keyboard

Select another timbre Seiect another rhythm set

Select the number

Select the number specified
specified by the program
sound(rhythm set)
change number

Map settings

Edit..--Setup.--NIDI
*Rx Ti Fibre Chan9e=fflHl >

Edit.--Set.up.-t1IDI Ed i t.''Setup.-* Map-'/l i nbr e

4R-x Rhythm Change-H

® Set the timbre change reception switch {or rhythm set

Ed i t/Seiup.-"Map.--Rhy thr-i
"

reception switch) to "Dir". nnnBBBPHBBBaBBmf

(T) Set the timbre map (rhythm set map) as explained on
page 50.

Press 1 EXIT several times

I to return to the play
display.
t° r h°w [Jutl and prasa [23 VALUE.) Ed i i---Set.up."'t'1 1 D
<Rx Ti fibre Chan9e=EESffll
Edit.."Seiup^MIDI
Transmit a program change From the keyboard on 4Rx Rhythm Change=if^H
the channel that is being received by the part you
want to change. Set the timbre change reception switch (rhythm set
reception switch) to the number of the map you set.

Press JEXiTl several times to return to the play

display.
(or hoki Uu MPI and prow (R VALUE J

Transmit a program change from the keyboard on

the channel that is being received by the part you

want to change.

i06
 5.How to change the pitch

5. How to change the pitch

How to change the overall

pitch .

Master tuning

Ed i t •'"Setup.-'M Tune .
Naster Tune=MllI$Hz

How. to change the pitch of

•••a. timbre-assigned to a part :

Change the pitch in Make fine adjustments of

half-step or octaves pitch

Pitch shift coarse Pitch shift fine

Ed i t/T i mhr-e C 1 ] sP i tch Ed i t---T i p-rbre 1 1 1 ,-P i tch

Uoarse=lI Fine=±@ fr Coarse =±8 Fine=HI0» >
-24 — (- 24 : half-step units C±2 octaves) ~ 50—t- 50 ; units of lotm (±30 cants)

•
.How; to. change thepitch v."
j^gi^S^alSiythrn"
Ssouridl

Change the pitch in

Make fine adjustments of
half-step or octaves pitch

Pitch shift coarse Pitch shift fine

Ed i t..-'Rhy thrv' I ns t--P i tch Ed i t/'Rhy thiv I nst.-'P i tch

Bi ! Coarse 3©. Fine=±9 ¥ Bi Coarse=±0 F i ne=!
:

~ 24— + 24 : half-step units (±2 octsves) - 50— + 50 : units of lcent (±50 cants)

107
5.How to change the pitch

How to change the pitch of a

timbre using aftertouch
(keyboard pressure)

Ed i t.--T i r-ihre C i 1 sp i tch

Coarse=±@ Fine=±y

Change. the
Change the pitch of ail notes
pitch of individual notes

Set channel aftertouch Set polyphonic aftertouch

sensitivity sensitivity

•CURSORfFI
•
CURSOR FF1

Ed i t.-T i Fibre L 1 D/F i tch Ed i t--T i mbre C 1 3 sp i tch

4 Ch After bens=iK3 4 Poly After 5ens=ra

+ 12 PresalnQ the keyboard will reiae the pitch + 12 Pressing the key will raiaa tha pitch

± The pitch will not change ± The pitch will not change

- 12 - 12
-24 -24
- 36 Preaaing the keyboard will lower the pitch - 36 Pressing the key will lawar tha pitch
£Jiange the pitch bfJndiiudual
:

rhythm instruments ''''£ %}!'{££

Ed i tx-Rhy t hiv I nst.-'P i tch

El :Coarse~±8 Fine =±8 >

Change the
Change the pitch of ail notes
pitch of individual notes

Set channel aftertouch Set polyphonic aftertouch

sensitivity sensitivity

— CURSOR fin • CURSOR [0

Ed i t/Rhy thrV I nst/P i tch Ed i t^-Rhy thr-V I nst-'P i tch

Bi MCh After Sens=fflH Bl MPoly flft Sen_=.=M
+ 12 Pressing the koyboard will raise the pitch + 12 Pressing the key will raise the pitch

* D The pitch will not change ± The pitch will not change

- 12 -12
-24 -24
— 36 Pressino the keyboard will lower the pitch - 35 Pressing the key will Sower the pitch

108
 5.How to change the pitch

jHpwtoasethe
;benderto change the pitch -

Change the pitch of a timbre

Change the pitch of a
rhythm part

Set the bend range of the Set the bend range of the
timbre rhythm part

Ed i t.--T i robr-e C
i : .-"P i toh Ed i t--"Rhyt-hn-""Bender
4 Bender RanSe-IBB I Bender Rari9e=y~2
+ 12 + 12
B«nd uo Bend up

-1Z -12
Band down
-24 -24
-36 -35

109
6. How to add reverb

How to turn reverb on/off

How to adjust the reverb
.settings '••".

Ed i t-*'betuF.**Ef' f ect
Chor \A&-0 n Re ver b=SH Adjust the type and time

How to adjusfethevreverb^^-
while playing ,,
Ed i t--'Patoh--*Ef f ect .'Rever b
", :., -

Type=II§lii! Time=tta»-

Adjust the level and

Make controller settings
delay feedback

Edit.'-Patch/Ctrl — CURSOR
Ed i t-'PatcrVEf f ect-'Reuer b
(D Set a control cahnge number. "i
4Leyel=il Delay FB=fflBI
© Select the parameter you wish to control.
(Select one of the following parameters to be
controlled ; Rev Level, or Delay Feedback. Refer to
page 56.)

Edit..--SetuFv--niDI
Rx Control Ch=l

Set the control change transmission channel of the

connected keyboard to match the control channel of
the U-220.

Ed i t.--Se tup.--Ef f ect-

Cho r us-HH Re e r-b = n '..•'

(D Turn the effect setup reverb "On".

Move a controller (slider, etc.) while playing the

keyboard.

*!f you are not using this setting, set the control change
number "Off".

30
 7.How to add chorus

7. How to add chorus

How to turn chorus on/off

How to adjust the chorus,
settings

E d i t Se t u p
.*-'* •*"
Ef" fe ct
Adjusttheiype
C h o r u s MSHI Re ver b=On

How to. adjust the reverb Ed i t-'-patcrv^Ef f eot/Chor us

;whHe playmg""3~7~ -

Adjust the output mode and

Make controller settings
rate

Ed i t-.--Patch.-"Ctr 1
— CURSOR fFI

Ed i t-.-'Patch-'Ef f ect^Chor us
CD Set a control change number, 4 out=Mma Lev e i =mm
(D Select the parameter you wish control.
(Select one of the following parameters to be
controlled ; Chrs Level, Chrs Rate, or Chrs
Adjust the delay time and
Feedback. Refer to page 56.) rate

— CURSOR [T|
Ed i t.-'-Setup.-'M I D
Ex Control Ch=l
Edit •-Pa t ch --"Ef feet s Ch or us
•

^Delay Tine=M Rate^HS^

Set the control change transmission channel of the
connected keyboard to match the control channel of
the U-220.
Adjust the depth and
feedback

Ed i t.-"Se tup/Ef f ect *~~ CURSOR

[£
Chorus=On Reuerb :
]

Turn the effect setup chorus "On H

Ed i t.-'Patcrv'Ef f ect-'Chorus
4 Depth=M Feedback =OB
.

Move a controller (slider, etc.) while playing the

keyboard.

*lf you are not using this setting, set the control change
number "Off".

Ill
8. How to add vibrato

How to adjust vibrato flow to use the modulation,

settings '•"•/' lever to add wibrato •*- -

Adjust the rate and

waveform
Ed I't^TiFfbretTD ^Uf Br ato
Rate-SB Waveforn=fflBB

•
CURSOR IT1
1 1 A' i brato
Ed i 1..--T i fibre 1
Rate=IHs Waueforrc—lMl
Ed i t..-'T i nbr e C 1 AJ i bra to
4 Modulation Depth-IH
Adjust the depth and
delay time

^CURSORS]

Ed i t.--T i fibre C i U AJ i brato

^Depth-li Delay Time=@ >

How to useaftertouch(ke
Adjust the rise time

— CURSOR [fe]

Ed i t£T i nbre CI 3 A-i i br ate

Ed i Wl i nbr e C 1 3 A* i brato
•^ Rise Tine-iH fc-

Use aftertouch to add Use aftertouch to add

vibrato to the entire timbre vibrato to individual notes

.1

Set channel aftertouch. Set polyphonic aftertouch

sensitivity sensitivity

•CURSORS] — CURSOR [fc]

Ed i t.-T i nbre C i 3 AJ i brat c Ed i t AT i ribre CI 3 A- i brato 1

4 Ch After Sens 55® 4 Poly After Sens=M

12
 9.How to set channels

9. How to set channels

How to set the control How to set the. reception.... .

channel channel.ofeach part (1—6) ;

Ed i t..-"'Set.up-"M I E> I Ed i t^Patoh^Par t 1 /M I D

Rx Control Ch=! Rx ChNBH

^im
How to^etthe'ireceDtiBni^l
'channel of th^&^Moa^stm^
-&?;-?.-. -
- - -<<v^Ni&|

Ed i t.-'Patc-h.-'R Part .
Rhy thn=R- 1 Standard Set >
:

CURSOR eg]

Ed i t--'Patch/R Part
* Rx Ch-I

113
1 0. How to use a sequencer
[Example of connections]

MIDI IN MID! OUT MIDI IN

ffl O diri iT' i 'rj. —-

P^—
'
'
'
'
'
J
'

-I
r—i
! t

DO ODD _
era
EEBB
MIDI Sequencer

MIDI OUT

MIDI Keyboard

How to select patches

CI) Set the patch change reception switch to "Dir".

(If you want to select patches as specified by the patch map you set, select the appropriate patch
map number.)

Edii.-'Setup-*-MIDI
4Rk Patch ChanSe—SB

Transmit a program change on the same channel as the U-220's control channel.

* Program changes are received only when In the play display.

* Patch program change numbers are the same as patch numbers.

How to change the volume of a part

Transmit a control change message (control change number 7) on the same channel
as the part you want to affect.

14
 10.How to use a sequencer

How to change part panning (stereo position)

Transmit a control change message (control change number 10) in the same channel
as the part you want to affect.

* To set the U-220 to random panning you must use an exclusive message.
* Each .instrument. in., the ..rhythm_part.can...ba-panned...indepBndentiy.....The„panning of .the

rhythm part cannot be controlled using control change message.

How to select timbres

\]J Set the timbre change reception switch to "Dlr".

(If you want to select timbres as specified by the timbre map you set, select the appropriate

timbre map number.)

Edit-'-Seiup^MIDI
4Rx Timbre Chan'3e=I

Transmit a program change on the channel being received by the part you want to select.

* Program changes are received only when in the play display.

* Timbre program change numbers are the same as timbre numbers.

How to select rhythm sets

\l) Set the rhythm change reception switch to "Dir".

(If you want to select rhythm sets as specified by the rhythm map you set, select the appropriate

rhythm set map number.)

Edit/Setup/MIDI
4Rx Rhythm CharrSe=I

Transmit a program change on the channel being received by the rhythm part.

* Program changes are received only when in the play display.

* Rhythm set program change numbers are the same as rhythm set numbers.

115
10-How to use a sequencer

How to control a specific parameter

Using a: controller Using exclusive messages

Edit..--Pat.Gh.-;Ctrl .

<D Set the Device ID of the U-220 and that of

the MIDI device to the same number, (page
48.)
(I) Set the control change number.
(D Use "Individual" exclusive messages for
(D Select the parameter you wish to control (see page 56). control.

(3) If you have selected a timbre parameter, transmit * For details refer to the MIDI implementation
control change data from the sequencer on the channel chart.
being received by the part you wish to control.

If you have selected an effect parameter, transmit

control change data from the sequencer on the same
channel as the U-220's control channel.

How to use a sequencer to reproduce the current settings

Transmit data from the U-220 to the sequencer (see page 88). Transmit all data

from the setup area and the temporary area.

* When using the SUPER-MRC/MRC-500 or MRB-50D sequencer, use realtime record

(SOFT THRU OFF). When using other sequencers, use realtime record mode. Same
sequencers may not be able to receive or transmit the data correctly.

(l)Transmit the data from the setup area

© Select "Setup AH" from the following display.

Dat-a.-'Bu 1 k ^Setup>'fi 1
Bulk Durtp i

Press ENTER .

Pa ta.-"Bu 1 k .-'Setup.--p 1
F u n ct i o n Co p 1 ted

116
 10. How to use a sequencer

(2)Transmit the data from the temporary area

(D Select "Temp All" from the following display.

Dat,a-"*"Bu 1 k -"'Temp
Bulk Dump 1

Press [ENTER 1 .

Dat-a.--Bulk^Temp
Fu not- i on C n f- 1 e t. ed

117
118
Chapter

This chapter contains an explanation of the error messages, help

for troubleshooting., parameter lists, and other material.
1. Error messages
When the U-220 has been operated incorrectly or when an operation ended with an unexpected result, an error
message will be displayed. Various other messages will be displayed for other special cases. Check the problem
and take the appropriate action.

Messages which appear when the power is turned on

Problem : The interna! backup battery has run low.

Internal Battery Low! Consults Roland service
Action : station.

Messages which appear when a PCM card (SN — TJ110 series) is used
When a PCM card is Inserted or removed this display will
Check i 9 PCM Card briefly appear and operation will halt for a short time, but

this not a malfunction.

Problem : A card other than a PCM card Is Inserted Into the

Illegal PCM Card!
Please? take it out, PCM card slot

Action : Immediately remove the card from the PCM card

slot

Messages which appear when external MIDI devices are used

5 dsEx l:heok £ UP'I Error Problem : Exclusive data was incorrectly received.

Action : Check MIDI cables and the transmitted data, and

try the operation once again.
Sy sEx D ata Len 9tr- Error

Problem : The amount of MIDI data received was too much for
MIDI Buffer Fl- 11 !

the U-220 to handle.

Action : Check If a large number of messages which

require a bit of time to process (such as
program changes, etc.) are being transmitted In

rapid succession.

Problem : After receiving an active sensing message, no

MIDI Off Line! messages have been received since 300 msec ago.
Action ; Check if the MIDI cable has been unplugged.

120
 2. Troubleshooting

2. Troubleshooting
If there is no sound or if the U-220 behaves in an unexpected way, check these points first. If these do not solve the
problem, consult the dealer where you purchased the U-220 or a nearby Roland service station.

No sound / volume too low

[No sound / volume too low even in ROM play}

•Is the VOLUME lowered?

Check the volume adjustment of the U-220 and the connected mixer/ amp system.

•Are the outputs connected correctly? :

-

If you hear sound in the headphones, the reason is probably in the amp or cable. Check
connections once again.

[No sound / volume too low in other than ROM play)

•Are the part's key range and velocity threshold settings appropriate?

Refer to page 59.

•Are the part or timbre levels lowered?

Refer to page 62, 66, 75.

•Have the part levels or. timbre levels been lowered by a control change message
from an external MIDI device?
Select another or the same patch.

•Is the PCM card containing the selected tone inserted correctly?

Refer to page 66.

•Does the transmission channel of the connected keyboard match the reception

channel of each part?

Check these settings in the play mode display {page 16).

121
2. Troubleshooting

The pitch is incorrect

Us the master tuning correct?

Refer to page 46.

lAre the pitch shift settings of each timbre correct?

Refer to page 68. .... ... ....

Has a MIDI pitch bender message (other than 0) been received?

Transmit a pitch bender message of (center) to the U-220 or re-select the patch.

Cannot select sounds

•Are yon in edit mode or data mode?

P ress i
EXiT |
to return to play mode.

The effect is not applied

• Turn on the setup chorus or reverb settings (page 46).

•Are the output assign settings of each part set to Dry, Dir 1, or Dir 2?

Set the output assign of each part to Rev or Cho (page 61, 78).

MIDI data from a sequencer is not received correctly

•Are the reception channels of each part set correctly?

Check these settings from the play mode display (page 16).

•Are the key range or velocity threshold of each part set correctly?

See page 60.

•Are the voice reserve settings appropriate?

See page 58, 63.

22
 3, Parameter List

3. Parameter List
Setup

Parameter Group Parameter Setting Range

M.Tune Master Tuning 427.4^52.9 Hz
Chorus Switch Off, On
Effect
Reverb Switch Off, On
LCD LCD Contrast 0-15
..Control. .Channel 1—16.. . . ...,,.. , ,

Patch Change Switch Map1— 4, Dir, Off

Timbre Change Switch Map1—4, Dir. Off

MIDI Rhythm Change Switch Map1—4, Dir, Off

Rhythm Inst Assign Map1— 4. Dir. Off

Rx Exclusive Switch Off, On

Device !D 1-32
Patch Map 1—64, Dir, Off
Timbre Map 1—128. Dir, Off
Map
Rhythm Map 1—4, Dir, Off
Rhythm Inst Map C-1—G9, Dir, Off

Rhythm Set
'"
Parameter Group' Parameter Setting Range

Name Rhythm Set Name (12 Characters)

(space) A-Z b-z 0-9 -/**.. :;!"
#*%&'(> {} [] _? ( > J>

Bender Range (Bend Down) -36. -24, -12— ±0

Bender
Bender Range (Bend Up) C— 12
Tone Select 1, 1—31 - 1-128
Tone Source Key C-1—G9
Mute B1-D7
Off,

Level 0—31
Velocity Sensitivity -7— +7
Env Mode Sustain, NoSustain
Level
Env Attack Rate -7-+
Env Decay Rate -7-+ 7 •

Env Release Rate -7— +7

Inst
Pitch Shift Coarse -36, -24, -12— +12
(B1—D7) Pitch Shift Fine -50— +50
Channel Aftertouch Sensitivity -36, -24, -12-+ 12
" Polyphonic Aftertouch Sensitivity
•

-36, -24,-12— +12

Pitch
Pitch Randomize 0-15
Auto Bend Depth -36. -24, -12-+ 12
Auto Bend Rate 0—15
Detune Depth 0—15
Output Assign Dry, Rev, Cho, Dir
Output
Pan 7 >— > <— < 7, Rnd

123
3. Parameter List

Patch

Parameter Group Parameter Setting Range

Name Patch- Name (12 Characters)

(space) A-Z a-z 0-9 -/+*..: ;«1"

Chorus/Flanger Type
Chorusl, Chorus2, F8- Chorus,
Fianger, Short Delay

Output -Mode •-. ;..

•J?re-rRev, -Post -Rev
Chorus/Flanger level* 0—31
Chorus
Delay Time 0—31
Chorus /Fianger Plate* 0—31
Effect Chorus/Flanger Depth 0—31
Feedback* -31— +31
Room 1—3, Halll, 2
Reverb/Delay Type
Gate, Delay, Cross Delay

Reverb Reverb/Delay Time 0-31

Reverb/Delay Level* 0—31
Feedback * 0-31
Control Number 0-5, 7—31, 64—95. Off
Prm1
Parameter Select See* 1

Control Number 0-5. 7—31, 64—95, Off

Ctrl Prm2
Parameter Select See*1
Control Number 0-5, 7-31, 64-95, Off
Prm3
Parameter Select See* 1

Timbre Timbre Select T-001-T-128

V.Rsv Voice Reserve 0—30 See* 2
Rx Channel 1—16, Off
Key Range C-1—G9
Velocity 1—127, Above. Below
MIDI
Parti— Volume Receive Switch Off, On
Pan Receive Switch Off, On
Moid Receive Switch Off, On
Output Assign Dry, Rev, Cho, Dir

Output Part Level 0—127

Pan 7 >— > <— < 7, Rnd
Rhythm Set Select 1-4
Voice Reserve 0—30 See * 2
Rx Channel 1—16, Off

R.Part Part Level C— 127

Part, .Levs! -Boost -Off,- On
Volume Receive Switch Off. On
Hold Receive Switch |
Off, On
* 1 Parameters indicated by * can be controlled (see page 56).
*2 Voice reserve settings for Parts 1.-6 and the Rhythm Part must total 30 or less.

124
 3. Parameter List

;
Timbre

Parameter Group Parameter Setting Range

Name Timbre Name (12 Characters)

(apace). A-Z a.-.z 0-9 -/*..::
!"#$>!& '
()<>{)[]_? j>

Tone Tone Select I, 1-31 - 1—128

Timbre Level* 0-127
Velocity .Sensitivity .~.7^-+7 -. . ..

Channel Aftertouch Sensitivity -7-+

Level Env Attack Rate * -7-+
Env Decay Rate* -7—+ 7
Env Sustain Level* ~7— +7
Env Release Rate* -7— +7
Pitch Shift Coarse - 24-+ 24
Pitch Shift Fine - 50-+ 50
Bender Range (Bend Down) -36, -24,-12—0
Bender Range (Bend Up) 0—12
Pitch Channel Aftertouch Sensitivity -36, -24, -12— +12
Polyphonic Aftertouch Sensitivity -36,-24,-12— +12
Auto Bend Depth* -36, -24, -12— +-12
Auto Bend Rate* 0—15
Detune Depth* 0-15
Rate* 0—63

Waveform *
Tri, Sine, Square, Sawllp, SawDwn,
Trim. Tritl2 Randml—
Depth* 0—15
Vib Delay Time* 0-15
Rise Time* 0-15
Modulation Depth* 0—15
Channel Aftertouch Sensitivity 0-15
Polyphonic Aftertouch Sensitivity 0—15
* : These parameters can be controlled using Control Change data, In the Patch, specify the parameters you
want to control, (see page 56.)

125
4. Preset Tone List
*(note name) = split point (v = ) = velocity threshold

No. | Tone Name Tone Type Remarks

Piano
1 A. Piano 1 V-MIX Soft
2 APiano 2 V-MIX
3 APiano 3 V-MIX Bright
4 A Piano 4 V-MIX Honky-tonk
5 A.Piano 5 SINGLE Soft
6 A.Piano 6 -DETUNE •Soft-

7 A.Piano 7 SINGLE Hard

8 APiano 8 DETUNE Hard
9 A.Piano 9 SINGLE Hard and bright
10 A.Piano 10 DETUNE Hard and bright
11 EPiano 1 V-MIX Soft + hard
12 EPiano 2 SINGLE Soft
13 EPiano 3 DETUNE Soft
14 EPiano 4 SINGLE Hard

_
15 EPiano 5
BRIGHT EP1
DETUNE
SINGLE
Hard

17 BRIGHT EP2 DETUNE

Vibraphone
18 VIB 1 SINGLE Soft
19 VIS 2 DETUNE Soft
20 VIB 3 V-MIX Soft + hard
Beil

21 BELL 1 SINGLE Long decay

22 BELL 2 DETUNE Long decay
Marimba
23 | MARIMBA SINGLE
Guiter
24 A.GUITAR 1 SINGLE
25 A.GUITAR 2 DETUNE
26 AGUITAR 3 DUAL
27 A.GUITAR 4 DUAL Added lower octave
28 AGUITAR 5 V-SW Slow attack/fast (v=100)
29 EGUITAR 1 V-SW Muted/unmuted (v=100)
30 EGUITAR 2 SINGLE Muted
31 EGUITAR 3 SINGLE
32 EGUITAR 4 DETUNE
33 HEAVY.EG 1 SINGLE Combination fifths
34 HEAVY.EG 2 DETUNE Combination fifths

Bass
35 SLAP 1 SINGLE Thumped, pulled, harmonics (E2, F # 4)
36 SLAP 2 DETUNE Thumped, pulled, harmonics (E2, F#4)
37 SLAP 3 SINGLE Thumped, pulled, harmonics (B2, F#4)
38 SLAP 4 DETUNE Thumped, pulled, harmonics (B2, F # 4)
39 SLAP 5 V-SW Thumped/pulled (v = 100), harmonics (F#4)
40 SLAP 6 V-SW Slow attack/fast attack (v=100), harmonics (F #4)
41 SLAP 7 SINGLE •Thumped, -jtuiled, harmonics (B2, C # 4)
42 SLAP 8 DETUNE Thumped; pulled, harmonics (B2, C # 4)
43 SLAP 9 SINGLE Thumped, pulled, harmonics (B2, C # 4)
44 SLAP 10 DETUNE Thumped, pulled, harmonics (B2, C # 4)
45 SLAP 11 V-SW Thumped/pulled (v=100), harmonics (C # 4)
46 SUP 12 V-SW Slow attack/fast attack (v = 100), harmonics CC#4)

I
26
 4. Preset Tone List

No | Tone name Tone Type 1 Remarks

Bass
47 FINGERED 1 SINGLE Fingered, harmonics (C # 5)
48 FINGERED 2 DETUNE Fingered, harmonics (C # 5)
49 PICKED 1 SINGLE
50 PICKED 2 DETUNE
51 FRETLESS 1 SINGLE Fretless, harmonics (D # 6)
52 FRETLESS 2 DETUNE Fretless, harmonics (D # 6)
53 AC.BASS V-MIX •Added fret -noise -.
.- .. ....,.-.

54 SYN.BASS 1 V-MIX Soft' + hard

55 SYN.BASS 2 SINGLE Soft
55 SYN.BASS 3 SINGLE Hard
57 SYN.BASS 4 SINGLE
58 SYN.BASS 5 SINGLE
59 SYN.BASS 6 SINGLE
60 SYN.BASS 7 SINGLE
61 SYN.BASS 8 V-MIX
Choir
62 CHOIR 1 SINGLE Long decay
63 CHOIR 2 SINGLE Short decay
64 CHOIR 3 DUAL Long decay, added lower
65 CHOIR 4 DUAL Short decay, added lower octave
Strings
66 STRINGS 1 SINGLE Long decay
67 STRINGS 2 SINGLE Short decay
68 STRINGS 3 DUAL Long decay, added lower
69 STRINGS 4 :
DUAL Short decay, added lower octave
Organ
70 EORGAN 1 SINGLE
71 EORGAN 2 DETUNE
72 EORGAN 3 SINGLE
73 EORGAN 4 DETUNE
74 EORGAN 5 SINGLE
75 EORGAN 6 DETUNE
76 EORGAN 7 SINGLE
77 EORGAN 8 DETUNE
78 EORGAN 9 DUAL
79 RORGAN 1 DUAL
80 RORGAN 2 DUAL
Wind
81 SOFT TP 1 -. SINGLE
82 SOFT TP 2 DETUNE
in
83 TP/TRB 1 SINGLE
84 TP/TRB 2 SINGLE Soft
85 TP/TRB 3 SINGLE Bright
86 SAX 1 SINGLE
87 SAX 2 SINGLE Soft
88 SAX 3 SINGLE Bright
89 SAX 4 DETUNE
90 SAX 5 DUAL Added lower octave
91 BRASS 1 SINGLE
92 FLUTE 1 SINGLE
""93
SHAKU 1 SINGLE
94 SHAKU 2 DETUNE

127
4.Preset Tone List

No Tone Name Tone Type Remarks

Synthesizer
95 FANTASIA DUAL
96 BELL PAD DUAL
97 SYN CHOIR SINGLE
98 BREATH VOX DUAL
99 SYN.VOX 1 SINGLE
100 SYN.VOX 2 SINGLE.
101 LCALLIOPE DUAL
102 CALLIOPE SINGLE
103 METAL HIT DUAL
104 RICH BRASS SINGLE
105 JP.BRASS 1 SINGLE
106 JP.BRASS 2 SINGLE
107 BRASTRINGS DUAL
108 STRINGPAD1 SINGLE
109 STRINGPAD2 DUAL
no JP.STRiNGS SINGLE
111 PIZ2AGOG0 DUAL
112 FANTA BELL SINGLE
113 SPECT BELL DUAL
114 BELL DRUM DUAL
115 SYNTH HARP SINGLE
116 PULSEWAVE1 SINGLE
117 PULSEWAVE2 SINGLE
118 PULSEWAVE3 SINGLE
119 SAW WAVE 1 SINGLE
120 SAW WAVE 2 SINGLE
121 PIZZ SINGLE
122 METAL SINGLE
123 BREATH SINGLE
124 NAILS SINGLE
125 SPECTRUM 1 SINGLE
126 SPECTRUM 2 SINGLE
127 N.DANCE SINGLE
Drums
128 DRUMS SINGLE Refer to the drums list

128
 4.Preset Tone List

'Drums List

Tone Name
Bass Drum 1
Bass Drum 2
Rim Shot
Snare Drum 1
Hand Clap"
Snare Drum 2
Low Tom Tom 1
Closed High Hat 1
Low' Tom Tom 2
Open High Hat 2
Middle Tom Tom 1

Open High Hat 1

Middle Tom Tom 2

High Tom Tom 1
Crash Cymbal
High Tom Tom 2
Ride CvmbaT
China Cymbal.
Cup (MuteJ
Off
Off
Cowbell
Crash Cymbal
Snare Drum 3
Ride Cymbal
Off
Off
Off
W
Off

Off
Off
Off
Off
Cabasa
Off
Off
Off
Off
74
w
Off
Off
Off
79 High Pitch Tom Tom 2
"Off
81 High Pitch Tom Tom 1

Off
Off
Bass Drum 3
Bass Drum 4
86 Snare Drum 4
Snare Drum 5
Drum 6
Snare.
Low Tom Tom 3
Closed High Hat 2
91 Middle Tom T om 3'
China Cymbal
93 High Tom Tom 3
Ride Cymbal ,

"Off
o Off

129
5. Initialized Settings
For the initialization procedure, see page 93.

Setup Patch
Parameter Parameter
Parameter Value Parameter Value
Group Group
M.Tune Master Tune 440.0 Hz Name Patch Name Acoust Piano
Chorus Sw On Output Mode Pre Rev
Effect
Reverb 'Sw On "Chorus Level 25
LCD LCD Contrast 10 Chorus Type Chorusl
Rx Control Ch 16 Chorus Delay Time 12
Rx Patch Change Dir Chorus Rate 25
Rx Timbre Change Dir
1 Chorus Depth 5
UJ
MIDI Rx Rhythm Change Dir Feedback
Rx Rhythm Inst Assign Dir Reverb Type HaM
Rx SysEx On Reverb Time
Reverb
SysEx Device ID 17 Reverb Level 6

1—64 Delay FB
Patch Map
ail Dir Ctrl # Off
Prml
Parameter Timbre Level
1—128
Timbre Map Ctrl # Off
al! Dir Ctrl Prm2
Parameter Timbre Level
Map
,.1—4 Ctrl # .
. .Off
Rhythm Map Prm3
all Dir Parameter Timbre Level
Timbre Timbre # T-001
B1—D7
Rhythm Inst Map V.Rsv Voice Reserve
all Dir

(same as
Rx Ch
part number)

Key Range C-1 - G9

CD
MIDI Velocity Thresh 127/Below
Rx Volume On
Rx Pan On
Rx Hold On
Output Assign Rev
Output Part Level 127
Pan ><
Rhythm Set # 1

Voice Reserve

Rx Ch 10
R.Part Part Level 127
Boost Off

Rx Volume On
Rx Hold On

130
 5.fnitialized Settings

Timbre Rhythm Set inst B1 - D7

Parameter Parametr Value
Parameter Value
Group
Rhythm Set Name Standard Set
Name Timbre Name A.Piano 2 Bender Range (Down) -12
Tone Tone # I- 2 Bender Range (Up) 12
Timbre Level 127
.Velocity Sensitivity •+7 : ,.instai ~,D7 .-,. , ,,.....„.., ..

Ch Aftertouch Sens Tone # : Name

Refer to
Level Env Attack Rate Source Key
following table
Env Decay Rate Mute
Env Sustain Level Inst Level 31
Env Release Rate Velocity Sensitivity + 7
Pitch Shift Coarse Env Mode No Sustain
Pitch Shift Fine Env Attack Rate
Bender Range (Down) -2 Env Decay Rate (G3 is + 2)
Bender Range (Up) 2 Env Release Rate
Pitch Ch Aftertouch Sens Pitch Shift Coarse (G3 is 12)
Poiy Aftertouch Sens Pitch Shift Fine .0
Auto Bend Depth Ch Aftertouch Sens
Auto Bend Rate 15 Poly Aftertouch Sens •

Detune Depth 5 Pitch Randomize ...

Rate 50 Auto Bend Depth

Waveform Tri Auto Bend Rate
Depth Detune Depth
Delay Time Output Assign
Vib Refer to
Rise Time Pan following table
Modulation Depth 8
Ch Aftertouch Sens
j
Poly Aftertouch Sens

131
 5.lnitiaiized Settings

Inst
Tone Output

Output
Tone # : Name Source Number Mute Pan
Assign
35 -128
-128
: DRUMS
DRUMS
35
36
Bass
Bass
brum 1
Drum 2
off X
X ..Dry,.

-12B
-128:
DRUMS
DRUMS
37
38
:

:
Rim Shot
Snare Drum 1
"W
off

off
X
><
Dry
_Rev
Rev
128 : DRUMS "39 : Hand Clap off 'TT Rev
128 : DRUMS 40 ....:. Snare Drum 2" off >< Rev
-128 : DRUMS 41...;.. Low Tom Tom 1 off 6> Rev
128 : DRUMS 42 : Closed H.H 1 A #2 <2 Rev
-128 : DRUMS 43 : Low Tom Tom
- 2 6> Rev
-128 : DRUMS 44 : Open rCiTT A#2 <2 Rev
-128 : DRUMS 45 : Mid Tom Tom 1 off >< Rev
128
128
:

:
DRUMS
DRUMS
46
47 ....:
: Open H.H 1
Mid Tom Tom 2
W2~ off
~<T
><
Rev
Rev
128 DRUMS 48 Hi Tom Tom 1 off <4 Rev
-128 DRUMS 4§" Crash Cymbal <2
off Rev
128 DRUMS": 50 : Hi Tom Tom 2 off <4 Rev
- 128 DRUMS : 51 Ride Cymbal off T> Rev
-128: DRUMS 5T China Cymbal off 6> Rev
128 DRUMS 53 : Cup (mute) off TT Rev
^02: LATIN 2 54 : Tambourine 4> Rev
128 DRUMS : 55 : Splash Cymbal" off >< Rev
-128: DRUMS 56 : Cowbell
T
off 2> Rev
DRUMS 57 : Crash Cymba off <2 Rev

-128
2-002:
DRUMS
: PRUNES"
LATIN 2
58
59
_6Q: Bongo ~H
:

:
Snare Drum 3
Ride Cymbal WofT
off ><
4>
<4
Rev
Rev
Rev
2-002: LA 1N2 61 Bongo -L : bff <2 Rev
2-002: LA IN~T 62 Conga (mute)
:
"W Rev
2-002: LA 1N2 63 Conga -H :
off T> Rev
TJ02: LATIN 2 64 : Conga -L off 4> Rev
2-002: LA IN 2 65 : Timbale-H off <2 Rev
2-002: LATIN 2 66 Timbale —
.
..: off <4 Rev
2 - 002: LATIN 2 67 ..: Agogo- H off 4> Rev
2 - 002 : LATIN 2 68 : Agogo-L off 4> Rev
1-128 DRUMS 69 : Cabasa off 2> Rev
2 - 002: LATIN 2 70 : Maracas off <2 Rev
2-002: LATIN 2 71 : Short Whistle off Rev
2-002: LATTN~2~ 72 : Long Whistle .alt T> Rev
2-002: LATIN 2 73 : Vibra-Slap off 4> Rev
2-002: LATIN 2 74 : Bell Tree off 4> Rev
LATIN 2 Claves off 6> Rev
GUIRO 2 Guiro 2 F 5 >< Rev
2-027: GUIRO 1 77 : Guiro 1 E5 >< Rev
2-002: LATIN 2 78 : Castanets off <4 Rev
128 DRUMS 79 Tom 2 <2
2-002:
I-128
:

:
LATIN 2
DRUMS
SO
81
:

:
,
Hi Pitch
Triangle
Hi pitch Tom 1
off
oft
off
X
<6
Rev
Rev
Rev
2-002: LATIN 2 82 : Wood Block off 7> Rev
2-002:
1-128 DRUMS
LATIN 2
W
8T Jingle Be IF off TY Rev
: Bass Drum 3 off >< Dry
-128 DRUMS: 85 : Bass Drum 4 "olF >< Dry
-128 DRUMS: 86 : Snare Drum 4 off >< Rev
1-128 DRUMS 87 : Snare Drum 5 off >< Rev
-128 DRUMS Snare Drum 6 off >< Rev
128 DRUMS: 89_.:.Low Tom Tom 3 off 4> Rev
1-128 DRUMS 90 Closed H.H 2 off <2 Rev
1-128 DRUMS 91 Mid Tom Tom 3~ off <4 Rev
-128: DRUMS 92 China Cymbal off ~<T Rev
1-128 : DRUMS" 9T Hi Tom T om 3 off 2> Rev
-128 : DRUMS 94 Ride Cymbal
: off 4> Rev
2-002: LATIN 2 95 : Native Drum - 1 off <4 Rev
2-002: 96 Drum -2 <2
2-002:
TSF DRUMS
LATIN 2
LATIN 2 97
:

:
Native
Native Drum -3
off

W
off X
X
Rev
Rev
Rev

1 32
 B.BIank Charts

6. Blank Charts

Date

Setup
Patch Map: #
M.Tune Master Tune Hz 2 3 4 5 6 7
1
8 9

Effect
Chorus
'Reverb
Off

off •
On
.*on
- JO ,.
\ ..... , ....J

LCD LCD Contrast 20

Rx Ctrl Ch 30
Rx Patch Change 40
Rx Timbre Change 50
MID! Rx Rhythm Change 60
Rx Rhythm Inst Assign 70
Rx Sys Ex Off On 80
Sys Ex Device ID 90
100
110
120

Rhythm Set Map : # • Timbre Map : #

1 2 3 4 5 6 7 8 9 2 3 4 5 6 7
1 8 9

10
N
10
X
20 20
30 30
40 40
50 50
60 60
10 70
80 80
90 90
100 100
no 110
120
— I
120

• Rhythm Inst Map: #

C c# D D# E E# F F# G G# A A# B
-1
1

2
3
4
5
6
7
8
9

133
6.Blank Charts

Date

Patch # : Name
Type Timbre Timbre #
Output Mode V.Rsv Voice Reserve
Level Rx Ch
Chorus Deiay Time Key Range _
o Rate m Velocity Thresh
«MD!
Depth C03 Rx Volume
UJ a.
Feedback Rx Pan
Type Rx Hold
Time Output Assign
Reverb
Level Output Level
Delay FB Pan
Ctrl # Timbre Timbre # —
Prm1
Parameter V.Rsv Voice Reserve
Ctrl* Rx Ch
Ctrl Prm2
Parameter Key Range —
Ctrl # Velocity Thresh
Prm3" MIDI
Parameter Rx Volume
Timbre Timbre # 0.
Rx Pan
V.Rsv Voice Reserve Rx Hold
Rx Ch Output Assign
Key Range - Output .
Level
Velocity Thresh Pan
MiDi
rra Rx Volume Timbre Timbre #
CL
Rx Pan V.Rsv Voice Reserve
Rx Hold Rx Ch
Output Assign Key Range —
Output Level Ifl Velocity Thresh
MIDI
Pan C Rx Volume
Timbre Timbre # Rx Pan
V.Rsv Voice Reserve Rx Hold
Rx Ch Output Assign
Key Range - Output Level
Velocity Thresh Pan
MIDI
Rx Volume Timbre Timbre #
Rx Pan V.Rsv Voice Reserve
Rx Hold Rx Ch
Output Assign Key Range _
Output Level CD Velocity Thresh
MIDI
Pan Rx Volume
Rx Pan
Rx Hold
Output Assign
Output Level
Pan
Rhythm Set #
Voice Reserve
Rx Ch
Rhythm Part Level
Boost
Rx Volume
Rx Hold

134
 6. Blank Charts

Date

Timbre # Name :

Tons # Pitch Coarse Rate

Timbre Level Pitch Rne Waveform
Velocity Bender Range (Down) Depth
--
Ch '-Aftertouch Bender -Range '(Up)
'
'
::

& -^elay Trme

"33
> Env Attack u
Ch Aftertouch
5 Rise Time
.3
Env Decay Poly Aftertouch Mod. Depth
Env Sustain A. Bend Depth Ch Aftertouch
Env Release A. Bend Rate Poly Aftertouch

Detune Depth

Timbre # Name :

Tone # Pitch Coarse Rate

Timbre Level Pitch Rne Waveform
Velocity Bender Range (Down)
Depth
Ch Aftertouch Bender Range (Up)
Delay Time
"3
> Env Attack Ch Aftertouch >
Rise Time
Env Decay Poly Aftertouch r
Mod Depth
Env Sustain A. Bend Depth
Ch Aftertouch
Env Release A. Bend Rate
Poly Aftertouch
Detune Depth

Timbre # Name :

Tone # Pitch Coarse Rate

Timbre Level Pitch Fine Waveform
Velocity Bender Range (Dawn)
Depth
Ch Aftertouch Bender Range (Up)
"33 Delay Time
> Env Attack u >
Ch Aftertouch Rise •
Time •
-J
Env Decay Poly Aftertouch
Mod. Depth
Env Sustain A. Bend Depth
Ch Aftertouch
Env Release A. Bend Rate
Poly Aftertouch
Detune Depth

135
6.Blank Charts

Date

;
Rhythm Set # : Name : Rhythm Set # : Name :

Bander (Down) Bender (Down)

Bender (Up) Bender (Up)

lnst# lnst#
Tone # : Name Tone # : Name
Source 'Key Source Key

Mute Mute
Level Level

Velocity Velocity

Env Mode Env Mode

Env Attack Env Attack

Ertv Decay Env Decay

Env Release Env Re leas b

Pitch Coarse Pitch Coarse

Pitch Fine Pitch Fine

Ch Aftertouch Ch Aftertouch
Poly Aftertouch Poly Aftertouch

Pitch Random Pitch Random

A. Bend Depth A Bend Depth
A. Bend Rate A Bend Rate
Detune Depth Detune Depth

Output Assign Output Assign

Pan Pan

Rhythm Set # : Name Rhythm Set # : Name

Bender (Down) Bender (Down)

Bender (Up) Bender (Up)

lnst# lnst#
Tone # : Name Tone # : Name
Source Key Source Key
Mute Mute
Level Level

Velocity Velocity

Env Mode Env Mode

Env Attack Env Attack

Env Decay Env Decay

Env Release Env Release
Pitch Coarse P'rtch Coarse

Pitch Fine Pitch Fine

Ch Aftertouch Ch Aftertouch
Poly Aftertouch Poly Aftertouch

Pitch Random Pitch Random

A. Bend Depth A Bend Depth

A. Bend Rate A Bend Rate

Detune Depth Detune Depth

Output Assign Output Assign

Pan Pan

136
 6.Biank Charts

Date

Rhythm Set # : Name : Bender Y :

Tone Level Pitch Output

Tone # : Name Source Mute Level Veto Coarse Fine Assign Pan

38

43
45

50

55
57

62

65
67

69
71

72
74
76
77
79

81
~83~

84
86
88
89
91

93
95
96
98

137
6.Blank Charts

Date

Jump
EXIT _ENTER

RlP ART/I NST PART/INSTE

m CURSOR CORSORfFI

ED VALUE VALUE

138
 Roland Exclusive Messages
>Data Format for Exclusive Messages!
» One way transfer procedure (See Section 3 for details.)
This procedure is suited for the transfer of a small amount of
Roland's MIDI implementation uses the following data format
dala. It sends out an exclusive message completely independent
for ail exclusive messages (type IV):
of a receiving device status.
Byte Description
Connection Diagram
FOH Exclusive status Device (A) Device (B)
41H Manufacturer ID (Roland)
MCtOUt
DEV Device ID
MO 1

IN
MDL Modal ID
CMO Command ID
Connection *
at point 2 is essential for "
Request data
[BODY] Main data ..procedures.. .{See Section .3.) -: .-. ...

F7H End of exclusive

# Handshake-transfer procedure (See Section 4 for details.)
This procedure initiates a predetermined transfer sequence
(handshaking) across the interface before data transfer takes
#M1DI status; FOH, F7H
place. Handshaking ensures that reliability and transfer speed
An exclusive message must be flanked by a pair of status are high enough to handle a large amount of data.
codes, starling with a Manufacturer-ID immediately after FOH
(MIDI versionl.0).
Connection Diagram

sMartufacturer-ID: 41 Device (A) Device (B).

The Manufacturer-ID the manufacturer of a MIDI
Identifies
moi our
instrument that triggers an exclusive message. Value AtH
represents Roland's Manufacturer-ID. mo n * MSS OUT
1

s Device ID: DEV

The Device-ID contains a unique value that identifies the
Connection at points I and 2 is essential
individual device In the multiple implementation of MIDI
Instruments, it is usually set to OOH - OFH, a value smaller
Notes on the above two procedures
by one than that of a basic channel, but value OOH - 1FH There are separata Command -IDs for different transfer
may be used for a device with multiple basic channels.
procedures.

* Model ID: MDL •Devices A and B

cannot exchange data unless they use the
same transfer procedure, share Identical Device-ID and Model '
The Model-ID contains a value that uniquely Identifies one
ID. and are ready for communication.
model from another. Different models, however, may share an
Identical ModeHD if they handle similar data.

The ModcMD format may contain OOH in one or more places ^Oneway Transfer Procedure"
to provide an extended data field. The following are examples
of valid Model-IDs, esch representing a unique modet This procedure sends out data all the way until it stops and
is used when the messages are so short thai answerbacks need
OIH
not be checked.
02H
For long messages, however, the receiving device must acquire
03H
each message in time with the transfer sequence, which inserts
OCR OIH Intervals of at least 20 milliseconds in between.
OOH. 02H
OOH, OOH OIH
Types of Messases Message Command ID
* Command-ID CMD
The Command -ID indicates the function of an exclusive Request data 1 Rat (ii h)
message. The Command-ID lormat may contain OOH Inone or
more places to provide an extended data field. The
Data set 1 OTI 02H)
following
are examples of valid Command-IDs, each representing a unique
function

# Request data #1 i RQ1 (11H)

OIH This message is sent out when there is a need to acquire data
02H from a device at the other end of the interface. It contains data
03H for the address and size that specify designation and
OOH, OKI length,
respectively, of data required.
OOH, 02H
On receiving an RQi message, the remote device' eheclcs its
OOH, OOH, 01 II
memory for the data address and sire that satisfy (he request

i Main data : BODY If it finds them and

ready for communication, the device will
Is
This field contains a message to be exchanged across an
transmit a "Data set l (DTI)" message, which contains
interface. The exact date size and contents will vary with the the
requested data. Otherwise, the device will send out nothing.
Model-ID and Command-ID.

Byte Description

lip Address-mapped Data Transfer j POM Exclusive status

Address mapping :!s -, a -Hcchnkjue -for. -transferring messages 41H Manufacturer ID (Roland)
conforming to the data formal given In Section 1. It assigns DEV Device ID
a series of memory-resident records-waveform and lone data,
switch status, and parameters, for exampie-to specific locations MDL Modet ID
in a machlne<iependetii address space, thereby allowing t><rs t !tH Command ID
to data residing at the address a message specifies.
B«H Address MSB
Address -mapped data transfer Is therefore independent of
models and data categories. This technique allows use of two !

different transfer procedures: one-way transfer and handshake LSB

transfer.
BSH Size MSB

LSB
sum Chack aum
F7H End of exclusive

139
 Roland Exclusive Messages

The size of the requested data docs not indicate the number • Device B requesting data from Device A
of bytes that will make up a DTI message, but represents Device B sends an RQl message to Device A. Checking the
the address fields where the requested data resides. message Device A sends a DTI message back to Device B.
*Some models are subject to limitations in data format used
for a single transaction. Requested data, for example, may j
Devica (A)| Devica (B)
have a limit in length or must be divided into predetermined
address fields before it is exchanged across the interface.
The same number of bytes comprises address and size data,
[Data set l] * • • -(Request data]

[Data set t] *»•

which, however, vary with the Model-ID.
*The error checking process uses a checksum that provides More than 20m sec time internal.
a hit pattern where the least significant 7 bits are zero when
values for an address, size, and that checksum Bre summed. [Deta set 1] ;
— »*-

[Data set I]
i
! - 1

= Data set 1 DTI (12H) ' fc

This message corresponds to the actual data transfer process.

.Because every byte. in .the. data .Is -assigned .a .unique..address,
a DTI message can convey the starting address of one or
more data as well as a series of data formatted in an address-
dependent order. Handshake-Transfer Procedure

The MIDI standards Inhibit non-real lime messages from Handshaking is an interactive process where two devices
interrupting an exclusive one. This fact is inconvenient for the exchange error checking signals before a message transaction
devices that support a "soft-through" mechanism. To maintain Unlike one-way
takes place, thereby Increasing data reliability.
compatibility with such devices, Roland has limited the DT! to transfer that a pause between message transactions,
inserts

256 bytes so that an excessively Ion* message is sent out in handshake transfer allows much speedier transactions because
separate segments. data transfer suns once the receiving device returns a ready
signal

Byte Description When it comes to handling large amounts of data-sampler

waveforms and synthesiser tones over the entire range, for
FOH Exclusive example-across a MIDI interface, handshaking transfer is more
41 Manufacturer ID (Roland) efficient than one-way transfer.

DEV Device ID Types of Messages Messes' Commend ID

MDL Mode! ID
Want to send data WSD <40H)
I2H Command ID
Request data RQD <41H)
aaH Addrass MSB
Date est DAT (42H)

!
Acknowledge ACK (43H)
L'sa
End of data EOD C45H)
-'
ddH Da a -. -
Communication error. ERR (4EH)
Rejection RJC (4FH)

sum Ch »ck sum

sWant to send data: WSD (40H)
F7H End of exclusive This message is sent out when data must be sent to a device
at the other end of the interface. It contains data for the
address and size that specify designation and length,
*A DTI message is capable of providing only the valid data respectively, of the data to be sent.

among those specified by an RQl message.

Some models arc subject to limitations In data format used On receiving a WSD message, the remote device checks Its
for a single transaction.Requested data, for example, may memory for the specified data address and size which will
have a limit in length or must be divided into, predetermined satisfy the request. If it finds them and is ready for
address fields before H is exchanged across the interface. communication, the device will return an "Acknowledge
The number of bytes comprising address data varies from <ACK)" message.
one Model-ID to another.
Byta Description
The error chocking process uses a checksum that provides
a bit patternwhere the least significant 7 bits are zero when FOH Exclusive status
values for an address, size, and that checksum are summed.
41H Manufacturer ID (Roland)

DEV Device ID
: Example of Message Transactions
• Device A sending data to Device B MDl Model ID
Transfer of a DTI message is alf lhal takes place.
40H Command ID

aaH Address MSB

[Device (A)] Devica (B)

[Data set »] - »- !

LSS
Mora than 20m see time internal saH Size MSB
[Data set 1} . ' >—
!
LSB
sum Check sum
[Data set 13
F7H End of exclusive

Otherwise, It will returna "Rejection (RJC)" message.

The aire of the data to be sent does not indicate the number
of bylcs that make up a "Data set (DAT)" message, but
represents the address fields where the data should reside.
Some models are subject to limitations In data format -used
for a single transaction. Requested data, for example, may
have a limit in length or must be divided Into predetermined
address fields before It is exchanged across the interface.
The same number of bytes comprises address and size data,
which, however, vary with the ModcMD.
The error checking process uses a checksum that provides
a bit pattern where the toast significant 7 bits are zero when
values for an address, size, and that checksum are summed.

140
 Roland Exclusive Messages

it Request data RQD {41 H) * Acknowledge : ACK (43H)

This message is when there is a need to acquire data
sent out
This message is sent out when no error was detected on
(nam a device the other end of the interface. It contains data
at
reception of a WSD, DAT. "End of data (EOD)",or some other
for the address and size that specify designation and length,
message and a requested setup or action is complete. Unless
respectively, of data required.
it receives an ACK message, the device at the other end will
not proceed lo the next operation-
On receiving an RQD message, the remote device checks Its
memory for the data address and size which satisfy the request Byte Description
if it finds them and
ready for communication, the device wlii
is
transmit a "Data set (DAT)" message, which contains the FOH Exclusive status
requested data. Otherwise, it will return a "Rejection (RJO*
41 H Manufacturer ID (Roland)
message.
DEV Device ID
Byta Description
MDL Modal ID
FOH Exclusive status
43H Command ID
41 Manufacturer ID (Roland)
"F7H End of exclusive
DEV Device ID

MDL Model ID

41H Command ID
#End of data EOD (45H)
aaH Address MSB This message Is sent out to inform a remote device of the end
of e message. Communication, however, wilt not come to an
! end unless the remote device returns an ACK message even
lie though an EOD message was transmitted
8SH Size MSB Byta Description

! FOH Exclusive status

LSB
41 Manufacturer ID (Roland)
sum Check sum
DEV Device 10
F7H End of exclusive
MDL Modal ID
The size of the requested data docs not Indicate the number 45H Command !D
of bytes that make up a "Data set (DAT)" message, but
F7H End of exclusive
represents the address fields where the requested data
resides.
*Some models are subject format used
to limitations in data
for a single transaction. Requested data, for example, may # Communications error: ERR (4EH)
have 8 limil In length or must be divided into predetermined This message warns the remote device of a communications
address fields before It Is exchanged across the interface.
fault encountered during message transmission due, for
*The same number of bytes comprises address and size data, example, to a checksum error. An ERR message may be
which, however, vary with the Model-ID. replaced wilh a "Rejection (RJO" one, which terminates the
*The error checking process uses a checksum that provides
current message transaction in midstream.
a bit pattern where the least significant 7 bits are zero when
values for an address, size, and that checksum are summed.
When ft receives an ERR
message, the sending device may
either attempt to send out the last
message a second time or
•
Data sat : DAT (42H) terminate communication by sending out an RJC message.
This message corresponds to ihe actual data transfer process.
Because every byte in Ihe data is assigned a unique address. Byte Description
Use message can convey the starting address of one or more
data as wet! as a scries of data formatted in an address- FOH Exclusive etatus
dependent order.
41H Manufacturer ID (Roland) .

Although the MIDI standards inhibit non-real time messages DEV Device ID
from Interrupting an exclusive one, some devices support a
"soft-through" mechanism for such interrupts. To maintain
MDL Model ID
compatibility with such devices, Roland has limited the DAT to 4EH Command 10
266 bytes so that an excessively long message Is sent out in
separate segments.
F7H End of exclusive

Byte Description

FOH Exclusive status

# Rejection : RJC (4FH)
41 Manufacturer ID (Roland) This message is sent out when there is a need lo terminate
DEV Device ID communication by overriding the current message. An RJC
message wW be triggered when
MDL Model ID

42H Command ID • a WSD or RQD message has specified an illegal data address
or size.
aaH Address MSB • the device not ready for communication.
Is

• an liiegal number of addresses or data has been delected

• data transfer has been terminated" by an operator:'" ""
LSB • a communicattans error has occurred.
ddH Data
An ERR message may be sent out by a device on either sice
of ihe Communication must
interface.. be terminated
immediately when either side triggers an ERR message
sum Cheek sum
F7H End of exclusive Byte Description .

FOH Exclusive status

*A DAT message is capable or providing only the valid data
among those specified by an RQD or WSD message. 4IH Manufacturer ID (Rotand)
Some models are subject to limitations In data format used DEV Device ID
for a single Iransaction. Requested. data, for example, may
have a limit in length or must be divided into predetermined MDL Model ID
address fields before It is exchanged across the Interface. 4FH Command ID
*The number of bytes comprising address data varies from
one mode! ID to another. F7H End of exclusive
•The error checking process uses a checksum that provides
a bit pattern where the least significant 7 bits are zero when
values for an address, size, and that checksum are summed.

141
 Roland Exclusive Messages

:
Example of Message Transactions

• Dm transfer from davlce (A) to device (B).

Device (A) Device (B)

|
|

[Want to aand data]

-^- [Acknowledge]

[Data sat] —
-* [Acknowledge]

{Date set]
[Acknowledge]

t£nd of data]
[Acknowledge]

Device (A)- requests and receives data from device (B),

Device (A)[ Device (8)

J

[Request data]

(Data sat]

[Acknowledge]
[Data set]

[Acknowledga]

[End of data]

[Acknowledge]

•Error occurs while device (A) is receiving data from

device (B).

t) Data transfer from device (A) to device CB],

Device (A) Device (B)

•[Data sat]

(Acknowledge]
(Error) x —»- •
[Data aat]

[Communication error]
•
{Data set]
(the same data
[Acknowledge] *- as aoove)

2} Device (8) rejects the data re - transmitted, and

quits data transfer.

Device (A) j
Davica (B)

[Data sat]

[Acknowledge] —
(Error) x -*— [Data set]

[Communication error]

(Quit) -+— [Rejection]

3) Device (A) immediately quits data transfer.

[Device (A)j }
Device (B)
|

[Data set]

[Acknowledge]

(Error) x [Data set]

[Rejection] (Quit)

142
 RS-PCM Sound Module Date : July 25, 1989
Model U-220 MIDI Implementation Version : 1.00

2. RECOGNIZED RECBVE DATA

1. TRANSMITTED DATA
This message is always recognized except for ROM Play.
Chanrval Vote* Mnuga
Channal Vole* Manage
©Control Charts*
• Not* Off
O Data Entry
Status Third
Second T hird 8nH kkH wH
Drill 06H mmll 9nll kkH OOH

mm - MSD of (he value of (he parameter specified by RPN kk-Note number OH - 7FH (0 - 127)
n " MSD! channel No. OH- FH <0 - IS) 0-ch.l 15 > ch.16 w.». Velocity. .... .. . . ..ignored . . . .

n - MIDI channel No. OH - FH (0 - 15) 0-eh.I 15- ch.16

Slams Second. ibM
BnH 26H IIH *Thc message is recognized through 'Patch /Part/ MIDI /Rx Ch'. 'Patch /R-Part/
Rx Ch*.
II = LSB of the value of the parameter specified by RPN *The message recognized through 'Patch /Part /MIDI /Key
Is Range'.
n » MIDI channel No. OH - FH (0 - 16) - ch.1 IS - ch.16
• Now On
OnPN lsb
Status Third
Status Second Third 9nH kkH wH
BnH 64H wH
kk » Note number OH - 7FH (0 - 127)
vv - LSII of the parameter number controlled by RPN w- Velocity 1H-7FH (1-127)
re- MIDI channel No. OH-FH (0 - 16) Q-ch.1 16-ch.lB n MIDI channel No. OH - FH (0 - 15) 0-ch.l 15 -ch.16

OfiPN MSB *The message Is recognized through "Patch/ Part/ M ID! /Rx Ch". "Patch /R.Part/
Rx Ch'.
Status Second Th|rd *Note number Is recognized through 'Patch / Part / MIDI / Key Range'.
BnH 65H wH *Noie velocity Is recognized through 'Patch /Part/ MIDI /V.Thresh".

w* MSB of the parameter number controlled by RPN • Poiyphonlo Kay Prauura

n - MID! channel No. OH - FH (0 - IS) 0-ch.l 15- ch.16
Third
*** WH *** AnH kkH WH
The Control Change can employ an RPN (Registered Parameter Number), or a message
that tan be used after being registered for MIDI. Kk-Nole number 0H-7FII (0-127)
Using MIDI RPN. parameters can be changed by Control Change messages. W-0H-7FH (0-127)
RPN MSB and LSB specify the parameter to be controlled, while Data Entry provides n MIDI channel No. oh-fh -
(0 15) 0-ch.l 15- ch.16
the parameter value.

*Thc message Is recognized through 'Patch /Part/ Ml Dl/Rx Ch'.'Patch/RPari/

Master Fine Tune is transmitted by RPN on U-220. Rx Ch'.

RPN Data Entry • Control Chang*

MSB ...IfSp MSB LSB Comments
OOH 01 mmH Mil Master Fine Tune O Modulation Dapth
MSB LSB
20 00 -SO cent Status Third
BnH 01H WH
40 00 cent
W-0H-7FH (0- 127)
B0 00 +50- cent n » MID] channel No. OH - FH (0 - 15) 0-ch.l lS-cn.16

*In 'Edll/Setup/M.Tune'. The U-220 transmits PRN MSB, RPN LSB and Data The
Entry (MSa LSB) when [ENTER] key is pressed
message is recognized through "Patch/ Part /.MIDI/Rx Ch'. 'Patch / RPart
Rx Ch'.
*Tho message is recognized through 'Setup/M1D1/Rx Control Ch'.
OVoluma

Syatam Exoluttva Muuga Th ird

,

BnH 07H wH
Status Data
F0H iIH.ddH_.eeH w - OH - 7FH (0 - 127)
F7H n - MIDI channel No. OH-FH -
(0 15) 0-ch.l 15 -ch-16

F0H : System Exclusive *The message is recognized through 'Patch/Part/MIDl/Rx Ch', 'Patch /R-Part/
ll» ID number : 40H (65) Rx Ch'.
dd__.ee -data :00H-7FH (0-127) *The message is not recognized if Patch /Part /MIDI/ Rx Volume' is set as 'Off",
F7H : EOX {End of Exclusive/System Common) or 'Patch /R.Part/Rx Volume* is set as 'Off.
* The value (wH> corresponds to 'Patch /Part /Out pot /Level'.
*A set of various parameter is transmitted, and received using MIDI System Exclusive
messages. OPan

Refer lo section 3 and 'Roland Exclusive Messages' for details. Status

BnH 0AH wH
w«0H-7FH (0-127)
n - MIDI Channel No. OH-FH (0 - 16) 0-ch.i is- ch.16

143
 The message is recognized through 'Patch/Pari/MIDI/Rx Ch\ RPN Data Entry
The message is noi recognized tf 'Patch /Part /MID!/ Rx Pan' is set as 'Off. MSR LSB MSB l-SF) Comments
The message Is through 'Patch /Pan /Output /Pan', but range are changed from 0011 01H wH uuH Master Fine Tune
7> to <7. MSB LSB
20 00 -50 cent
)HoM1
40 00 cenl
Siaiiaa Second Third
BnH 4GH wH 60 00 +50 cent

vv - OH - 3FH (0 - 63) : Otf, 4011 - 7PH {64 - 127) On :

The message Is recognized through 'Setup/MIDl/Rx Control Ch".
n - MIDI channel Na OH - FH (0 - 165 0-ch.l 15-ch.lB

The message is recognized through 'Patch/ Part/ MIDI /Rx Ch", 'Patch / RPart Ch»ns»
Rx Ch'.
•The message is not recognized if "Patch / Part / MIDI / Rx Hold' ts set as 'Off, or 5econd
'Patch /RPart/ Rx Hold' is set as "Off. CnH PPH

O Sound Control Ptramaur 1 PP- Program Change number 0H-7FH (0-127)

n-MIDI channel Na OH -FH (0 - 15) 0-ch.I 16 -ch.16
Status Second. IhM
BnH ecH wH The Program Change Is not recognized except for PLAY mode.

ccH -OH - 5il (0 - 5), 7H - 1FH (7 - 3D, 4QH - SFH (64 - 95} Obi th* earn of Patch Ch»ng«
wH » OH - 7FH (0-S27) pp -OH -SFH (0-B3) -Palch * P-01 - P - 64
n-MIDt channel Na 011-711 (0 - 15) 0-ch.l 15 -ch.16 The Patch Change is recognized through 'Setup/ MIDI/ Rx Control Ch'.
The Patch Change Is not recognized if "Setup/ MIDI /Rx Patch Change' is set as
'

*The message is recognized through 'Setup/ MIDI /Rx Control Ch', "Patch /Part/ Off, or "Rx Patch Change' is set as 'Map' and the converted value is set as 'Off.
MiDl/Rx Ch' and 'Patch /R-Part/Rx Ch'.
Oln th» caw of Timbre Chang*
Change the number through "Patch / Ctrl /Prml A3 »'. PP-0H-7FH {0-127} ..Timbre # T-001 - T-128
The Timbre Change is recognized through "Patch/Part/MIDl/Rx Ch'.
OData Entry The Timbre Change is not recognized if 'Setup /MIDI/ Rx Timbre Change' is set as
'Off, orTfic Timbre Change' is set as 'Map' and the converted value is set as "Off.
Sisiys Third
BnH osh mmH Obi *• eat* of Rhythm -Smt Crumoa
pp - OH - 3H (0 - 3) -Rhythm - Set # R - 1 - R-4
mm « MSB of the value of the parameter specified by RPN The Rhythm -Set Change is recognized through 'Patch/ RPart/ Rx Ch'.
n*MIDI channel Na OH - FH (0 - IS) 0-Ch.l 16 -ch.16 The Rhythm -Set Change Is not recognized if 'Setup /MIDI/ Rx Rhythm Change' is

set as 'Off, or the 'Rx Rhythm change' is set as 'Map' and the converted value is
Status Third set as*Off.
BnH 2GH IIH

IChanmi Prmun
Si - LSB of the value of the parameter specified by RPN
n - MIDI channel Na OH-FH<0-!5) 0-ch.l 15 -ch.16 Second.
DnH wH
ORPN LSB
w-OH-TFH (0- 127)
Status Third n - MIDI channel Na OH - FH (0 - 15} - ch.1 15 - ch.16
BnH 64H wH
The message is recognized through 'Patch /Part /MIDI/ Rx Ch', 'Patch /RPart/
w - LSB of the parameter number controlled by RPN RX Ch".
n - MIDI channel Na OH - Fit (0 - 15) 0-Ch.l 15 -ch.16
IPheh Band ChM8,
ORPN MSB
Second Thirtl
Stylus Second. Thin! EnH IIH mmH
BnH 65H wH
II - Lower Pitch Bender value 00H - 7FH (0 - 127)
w - MSB of the parameter number controlled by RPN mm - Upper Pitch Bender value 00H - 7FH (0 - 127)
rt - MIDI channel Na OH - FH (0 - 15) - eh.1 15 - eh. 16 n-MIDI channel Na 0H-FII (0 - IB) 0-ch.l 15 -ch.16

Master Fine Tune and Pitch Bend Sensitivity are controllable by RPN on U-220. The message Is recognized through "Patch/ Part / MIDI /Rx Ch", 'Patch /RPart/
Rx a*.

MSB UTO MSB LSI! Cpmmepls ,

.
,

00H O0H mmH IIH Pitch Bend Sensitivity MChanmi Mods Mnugi
MSB 'LSD
00 ignore cent • Rtwt AH Corrtrofl*r»

OC Ignore 1200 cant Status jteqd, dm

BnH 78H 00H
QD Ignore
n-MTD! channel Na 0H-FH (0 - 15) 0-ch.l 13-ch.lfl
7F ignore
When Reset Ail Controllers Is recognized, each of the controllers is sot as follows.
The message is recognize through 'Patch/ Part /Rx Ch", 'Patch/ RPart /Rx Ch'.
Controller Value
ModofaUon (min)
HoUl (off)
Pitch Bend Change + /- (center)
Channel Pressure (min)
Polyphonic Key Pressure (min)

]44
 The message is recognize through 'Patch /Part/ MIDI /Rx Ch', 'Patch /RPart/Rx *A sci of various parameter is transmitted, and received using MIDI System Exclusive
Ch". messages.
The message 'Setup/ MIDI /fix SysEx'
is not recognized if is set as 'Off.
• All Nola. Off Recognized through 'Setup/ MIDI /Device ID'.

Siaiiaa Thin} Refer to section 3 and 'Roland Exclusive Messages' for details.
BnH 7DH OOH

n « MID! channel Na OH - Ft! (0 ~ 15) 0-ch.t 15-ch.lB

3. EXCLUSIVE COMMUNICATIONS
When AH Notes Off is recognized, ait the notes which have been turned on by MIDI
Nate On message are turned oft. U- 220's exclusive map is roughly divided into two area. Bulk - Dump area and
*The message, .is recognized, ihrough '.Patch / Part / MID! /Rx..Ch','Palch/RPart/ ...IndiviJual.-oarameter/'.area. - • .

Rx Ch'. Bulk -Dump area suited for dumping a - speedness,

is set of parameters owing to its hi
while Individual parameter area is sulled for controlling each parameter.
• Omni Off

Davtoa to
Status Second Third
BnH 7CH OOH The message is transmitted or received through 'Setup/ MIDI /Device ID'.

n - MIDI channel No. MI-FH (0 - 15) 0-ch.l 15-eh.ie Modal ID

Recognized as AH Notes Off only. Model - ID # In the Exclusive message : 2BH

* The U - 220 stays in Mode 3 (Omni Off, Poly).

Bufk Dump
• Omni On
When U - 220 is transmitter. Panel operation or MIDI Exclusive Data Requestl.
Status Second Third
BnH 7DH OOH U - 220's Bulk - Dump follows the rules shown below.

n - MIDI channel Na OH-FH {0 - 15) = ch.l I5»ch.l6 One byte data read from U- 220's
1. internal memory is transfarcd after it is divided
into two (upper 4 bits and tower 4 bits).
Recognized as All Notes Off only, For example, OABh win be divided into OBh and OAh (lower first).'
• The U- 220 stays in Mode 3 (Omni Off. Poly).

2. In the case of sending ) packet of Exclusive message. fM bytes of Internal data

will be transfared in 128 bytes.
However, (he 1 packet to be sen! may get fractional according
last to ihe amount
Status Ssssnd. Jim of data to be road from Internal memory.
BnH 7EH mmH
Therefore, contents of Bulk -Dump can easily be known from ihe structure of Internal
mm -Mono channel range ignore memory's data.
n - MIDI channel No. OH - FH (0 - IS) 0-eh.J iS-caia
[Tablet] - [Tables] are maps of internal memory, not maps of MIDI. Transformation
* Recognized as All Notes Of r only. must be considered for address and data.
* The U - 220 -stays in Mode 3 (Omni Off. Poly). The first address to be read for Bulk - Dump is noted 0.
If certain bits of byte data have meanings individually, their
1 bit numbers are also
• Poly noted Bits that are not specified are to be recognized as "-" (reserved).
Basical value for data noted as "reserved" is 0.
Siatus Third
BnH 7FH OOH As for values and display, refer the
io explanation of individual parameter area;
Explanation Is common between the -two^Howover, some of the Sot up parameters -

n - MID! channel Na OH - FH (0 - 15) 0-ch.l 15-eh.ie cannot be controlled individually. Those kinds are explained here,

* Recognized as All Notes Off only. Transmit

* The U - 220 stays in Mode 3 (Omni Off. Poly).

Exclusive messages are transmitted under following conditions.

Systam Haahima M*«ns» 1) Edit Pammatar Dump

• Activa Sanaing Value of parameter currently being edited can be transmitted by pressing
[ENTER].
However, parameters that are not supported by Exclusive message will not be
Status transmitted.
FEH
2) Buflt Dump Mod*
Once receiving this message, the V- 220 expects to accept status or data in sequence,
at last within 300 msec intervals. If the unit fails to receive a message 300 msec Transmit as follows. Parameters
after previous one, it Judges there is a problem somewhere in MIDI path, muting the
current sound and setting each of controllers -as below, then stopping 300 msec - Data/Bulk/ Temp ; Ail, Patch, Timbre [1]„[6]. Timbre All,
interval monitoring of incoming signal Rhythm Setup

Data/Bulk/Memory Alt. Setup, Patch, Timbre. Rhythm Setup

Sy«am Exclualva Mauaga
3> Raoooniza RQ1
Slates Data
F0H ItH-ddli, eeH When receivina RQl (refer to Roland Exclusive Format), parameter corresponding to
F7H the address is RQl for certain parameters is ignored.
transmitted.
U- 220 can not send discontinuous blocks by one RQl.
F0H : System Exclusive
li - ID number : 4011 (66)
dtt_ee-data :00H-7FII (0-127)
F7H : EOX (End of Exclusive /System Common)

145
 fUcosrnUrad H»e»lv« Data [ Individual Parameter Control Area ]

This messajtc is always recognized except for ROM Play. Temporary Area : Patch, Timbre, Rhythm Setup.

Ptramttar Addraaa Map 10 OS 00 * * Setup Parameter 00 00 03K Bytes [Table 9]

address DTI RQ1 <* -available) 02

[ Bulk Dump Area ] 10 04 00 » * Patch Cowkhi 00 00 29H Bytes [Table 10]

00 00 00 * « Setup Parascter 00 00 10H Bytes [Table lj 25

(Size o( Exclusive Address Hap)

OF - 10' 04 •60 -."* -if •:•: fttdWntthr-fvt \00 WOTH Bytes '{Table-Ill-

00 06 00 • « Patch Teap 00 01 20H Bytes [Table 2] 66

07 IF ID 05 00 I • Patch Parti 00 00 0DH Bytes [Table 12}

00 10 00 » * TlnoretD Tap 00 00 40H Bytes [Table 3] OC

10 3F 10 OS 10 * * Patch Part2 00 00 OOH Bytes

00 11 00 * * TisBre[2] Teip 00 00 40 K Bytes 1C

11 3F

00 12 00 * * Tisbre[3) Teap 00 00 40H Bytes

10 OS SO • * Patch Parts DO 00 DM Bytes

12 3F
£C
00 13 00 * 1 Tl»breU3 Tap 00 00 40H Bytes
W 10 OS » * Tlabre [1] 00 00 32H Bytes {Table 13]
13 3F
31
OS 14 00 * TIabre[5] Teap 00 00 40H Bytes
10 11 OS * * Tlabre [2] oo oo 32H Bytes
14 3F
31

00 IS 00 » Tlabre[6] Teap 00 00 40H Bytes

15 3F

00 20 00 * * Rhytha Setup Tettp 00 OC 20H Bytes [Table 43 10 IS 00 • * TiBbrafB] 00 00 3211 Bytes

2C IF 31

02 00 00 • Tlabre 00 40 OOH Bytes [Table 5] 11 00 OS « » Rhytha Setup Coison 00 00 IAD Bytes [Table 14]
: T-001...128
3F 7F 13

03 00 00 Patch 00 50 00B Bytes [Table 8] 11 23 00 * » Khytta Setup Inst-Bl 00 00 141! Bytes [Tabic 153
: P-01...P-S4
4F 7F 13

OS 00 00 * • Rhytha Setup 00 31 OOH Bytes [Table 7] II 24 00 « * Htytha Setup lnst*C2 00 00 14R Bytes
: R-1...R-4
30 IF 13

07 00 00 * « Patch Hap 00 08 DOH Bytes [Table I]

; Uapl...uapl
07 7F
11 63 00 # * Rhytha Setup lnst-D7 00 00 14H Bytes
07 08 00 < » Timbre tap 00 08 OOH Bytes

: Uapl...tap4 13

OF 7F
[Table 1} Setup Parameter
07 10 00 t Rbylh* Bap 00 08 OOH Bytes
•
: Mapl...tap4 tleaory Offset

17 7F Address Description

07 IB 00 t R. Inst Kap 00 08 OOH Bytes 00 009 bl t E-F

; Hapl...Map4 bit » Chorus St (0...1 : Off.. .On)
IF 7F HtC Reverts* (0...1 : Off... On)
bit »-* 1X0 Contrast (0...I5 : 0...IS)
bit 0-7 taster Tune (0...255 : 42T.4...4SZ.I

00 029 bit 0-F

OO 04B bit S-F

bit M Bx Ctrl Channel (0...I6 : l... 16. Off)

00 06R bit F

146
 bll C-E a. Inst Assign (0...5 : Mapl...Kap4. Dlr, Off) Heaorjr Offset
bit B
address Description
bit S-A Miytlti Change (B...5 Mapi...Map4,
: Dlr, Off)
bit 7
00 1EH bit D-F Output Assgin
bl t 4-6 Tlibre Change (0...S Napl...Uap4,
: Blr, Off) bit 8-C Voice Reserve
bit a
bit T Ki Yolune
bit' 0-2 Patch Change (0...5 : MbpI. . . Uatvi, Dlr, Off) bit 0-6 Tlsbre t

Total sbD - 08H (Size on Memory) 00 20B bll C-F Panning

bit 5-B Pars Level
bit 0-4 Receive Channel faff, 1-18)
[Table 23 Patch Temporary
JWJM bit F vSx-Pats -•-
Keaory Offset
bit !-E Key Range Bl
address Descriptliin
bit 7 Rx Hold
bit 0-6 Key Bange Low
00 00H Wt 0-7 Hue
00 24H bit F
DO OBK
bll S-E Valo Threshold
bit 1-7 .

00 OCH bit B-F Chorus Depth bit Velo Level

bit 6-A Chorus Level
bit S -
Total size - 50H
bit 0-4 Chorus Rate

00 OEH bit D-F Chorus Type [Table 33 Timbrel. 2, 3. 4. 5, 6 Temporary

bit 7-C Chorus FeedfcacK
bit 6 -
Offset
bit 0-5 Rev/Delay Tise address Description

DO 10H bit B-F Delay Feedback 00 OOB bit 0-7 Naie

bit 5-A -
bit 0-4 Chorus Delay Tlie 0D QBH

00 12H Wt f Chorus Out Mode 00 0CK bit C-F Detune Depth

bit C-E 8ev /Delay Type
bit 7-B Tone Media
bit B -
bit 0-6 Tone *
bit 6-A Bev Pre Delay Tine
bit 5 .
CD OEfl bit F
bit 0-4 Sev/Delay Level bit 6-E Tlibre Lave)
bit 4-7 Level Channel Press Sens
00 24K bit B-F .
bit 0-3 Level Velo Sens
bit 8-C Peraieterl
bit 7 .
00 10H bit C-F Env Release
bit 0-6 Ctrl « 1 bit 8-8 Env Sustain
bit 4-7 Env Decay
00 IBS) bit D-F .
bit 0-3 Env Attack
bit 8-C Para*eter2
bit 7 -
00 12H bit E-F
bit 0-6 Ctrl s 2 bit 8-D Pilch Shift Coarse
bit 7
00 18H bit D-F .
bit 0-5 Pitch Shift Fine
bit B-C Para»eter3
bit 7 -
00 HH bit E-F
bit 0-6 Ctrl * 3 bit 9-D Auto Bend Depth
bit 5-B Bend Range Upper
00 1AH bit F .
bit 0-4 Bend Range Loner
bit E Bx Vol UK
bit D Si Bold
00 JIB bit E-F
bit 8-C Ehythi Part Channel
bit A-D Auto Bend Sate
bit 7 -
bit 5-9 Pitch Cn. Press Sens
bit 5-6 Rhytha Setup tt
bit 0-4 Pitch Poly Press 5ens
bit 0-4 Rnytha Part Voice Reserve

00 I IB bit C-F Vlb Depth

00 1CH bit l-F .
bit J-B Vlb Delay
bit 7 Ehytb* Part Level Boost S» Wt 4-7 Vlb Modulation Depth
bit 0-6 Ehytha Part Uval bit 0-3

00 IAB bit C-F

bit 8-B VI b lavefon
bit 6-7
bit 0-5 Vlb Rata

00 1CH bit C-F Vlb Poly Press Sens

bit 8-B Vlb Ch Press Sens
bit 4-7
bit 0-3 Vlb Bise Tl»e

00 1EB bit 0-F

Total size - 20H

147
[Table 4] Rhythm Setup Temporary [Table 8] Patch Map, Timbre Map, Rhythm Map, Rlnst Map
Offset Offset
address Description address Description

00 0011 bit 0-7 toe 00 DDK bit a-7 Patch tepl (0.. .65 : 1...84.Dlr,0fD

00 SB1I 00 7FH

00 OCH sit a-F - 00 80H bit 0-7 Patch «ap2

bit 5-8 Bend Range I'pper
bit 0-4 Bend Range Lover 01 FFH Patch Iiap4

02 00H bit 0-7 Tlibre llapl (0. ..129 : 1... 128, 01 r. Off)
Inst "ST - or
02 7FH

address Description 02 BOH bit 0-7 Tilbre Ubp2

SO 0EH bit C-F Detune Depth 03 FFH Tiibre Hap4 .

bit 7-E Tone Media

bit 0-6 Tone S 04 OOH bit 0-7 Rhyths Hapl (0. ..5 : I... 4, D Jr. Off)

00 10H bit C-F Auto Bend Sate 04 7FH

bit 7-B Pitch Offset Coarse
bit 0-6 Pitch Offset Fine 04 BOB bit 0-7 Rhytti»Bap2

00 IZII bit F Env Uode 05 FFH Rhythi Map!

bit A-£ Pitch Channnel Press Sens
bit 5-9 Pitch Poly Press Sens 05 00K bit 0-7 R. Inst Hapl (0. ,.65 : B1...DT, Dtr.Off)
bit 0-4 Auto Bend Depth
06 7FH

00 UK bit C-F Env Release

bit 8-B Env Decay 06 80R bit 0-7 R. Inst Uap2
bit 4-7 Env Attack
bit 0-3 leva! Velo Sens 07 FFH R. Inst Wap4

SO 1EH bit F .
.Tola! <=for * BOOH
bit 8-E Mute Inst
bit 7 -

bit 0-5 Source Key [Table 9] Setup Parameter (Individual)

oo m bit F - address DTI Rai

bit B-E Pitch Randoilze Itt 00 00 t • Chorus Sw
bit B-A Out Asjn (0...1 : Off... On)
bit 4-8 Out level
bit 0-3 Panning 01 * t Reverb Sw
(0...1 : Off... On)
Total size » 3IOH
02 * LCD Contrast
(0...1S : 0...15)
[Table 5] Timbre 1-128
Total size - OO OO 03H
Offset
address Description

Sane as Teaporary Tiabre Area

Total slzo • 1000H

[Table 6] Patch 1 - 64
Offset
address Description

Saw as tcsporary Patch Area

Total size « 14008

[Table 73 Rhythm Setup 1 - 4

Offset
address Description

Saae as Rhytha Setup Area

Total size - CMOI1

148
 [Table 10] Patch Common Parameter (Individual) [Table 13] Timbre Parameter [1] (Individual)

address DTI HOI address DTI SQ)

IS 94 OS * • Patch Kaitel toner 4bit ID 10 00 * • Patch Nasei Lower 4bit
Bl Patch Kaael Upper 4blt 01 * » Patch Rase) Upper 4b!

IT * * Patch Ka«el2 Upper Ibtt IT • » Patch Ha»e!2 Upper 4bit

18 * Chorus Type IB » » Tone Media (0... 31 : t. 61... 3!)

(0...4 : Chorus!, Choras2, FB-Cborus, Planter. 19 » * Tone Jhnoer (0. . . 127 : 000. . . 127)
Shard Delay) 1A * TlBbre Level {0...I27 : 0...127)
19 » 4 Chorus Out Mode (0. . . ! : Pre Rev, Post Rev) IB » * Velocity Sens (1...1S : -7... +7)
1A . .Chorus Level .«... 31.: JJ... 3D. , , ,.IC. ,.».,, .t^CisannBl .toss -Sens-(I 15 :--7.~-*7)
IB * * Chorus Delay ft... 31 : 0...3U ID * * Env Attack Rate (1...15 : -7.. .+7)
1C * » Chorus Bate (0...31 : 0...31) IE * » Env Decay Bate (1...I5 -7... +7)
:
ID 4 » Chorus Depth (0...31 : 0...31) IF * » Env Sustain Level -7.. .+7)
{I... 15 ;

IE * Chorus Feedback (i. ..63 : -31... +31) 20 * » Env Release Rate (I... 15 : -7, . . +7)
IF * * Reverb Type 21 » t Pitch Shift Coarse ft... 56 -24... +24)
:
(0...T : RMil.ltooa2,Roo»3,HallUai!2,Cate,Delay, 22 4 t Pitch Shift Fine (14... 114 : -50... +50)

20.*
CrossDelay)
Reverb Tlae «... 31 : 0... 31)
23 • • Bend Range Lowr (0 — IS : -36, -24, -12... 0)
24 * t Bend Range Upper (0...I2 : 00.. .12)
21 » 4 Reverb Level (0...31 : 0...31) 26 Channel After Sens (0...27
* : -36,-24,-12.... +12)
22 « * Reverb Delay Feedback (0...31 : 0...3I) 26 * * Poly After Sens ft... 2? -36. -24, -12.... +12)
:

23 » Parasl * {0...63 ; 00. . . OS, 07.. . 31, 64. . . BS, Off) 27 Auto Bend Depth (0...27 : -36, -24, -12.... +12)
24 * Paraal Paraa 28 t • Auto Bend Rate (0...15 : 0...15)
ft... IB : Tlabre Level, Env Attack, Env Decay, 29 t • Detune Depth (0...15 : 0...16)
Env Sustain, Env Release. A. Bend Depth, A, Bend Rate, 2A » * Rate (0...63 : 0...63)
Detune Depth, Vib Rate, VSb Kavefore. Vlb Depth, 2B Waveform <0.,,8
* * : Tri. Sine. Square, SawUp, SatDm, Sandal, ,.4)
Ylb Delay, Vlb Rise Tl«e, Vlb Mod Depth, Chrs Level, 2C * * Depth (0...15 : 0...15)
Chrs Rate, Chrs Feedback, Rev Level, Dlay Feedback) 2D * * Delay (0...15 : 0...I5)
2E » 4 Rise Tlse (0...15 : 0...15)
25 t * Parai2 * (0. . . 63 : 00. . . 05, J. . . 31. 84. . . 85, Of 2F » * Modulation Depth CO... 15 : 0,,.1S)
26 * « Para»2 Parai (Saw as Parail) 30 • t Qi After Sens «.'..15 : 0...15)
27 * * Paraa3 * (0...63 : 00... 05. 07... 31. 64... S3, Off) 31 * » Poly After Sens (0... 15. : D... IS)
28 4 Paras3 Paras (Saae as Paraal)

Total size » OO 00 S2H

Total size - OO 00 29H

[Table 14] Rhythm Setup Parameter (individual)

[Table 11] Patch Rhythm Part Parameter (Individual)
address DTI RQ1
10 04 so • Rhytha Setup 6 {0...3 1...J)
:
5100 00 * Setup Naael Lower 4blt
Bl * Voice Reserve ft... 30 : D...30) 01 * * Setup Kaael Upper 4blt
62 * Receive Channel (0...16 : 01...16.0ff>
63 * Level (0...127 : 0...127) IT » » Setup Nai>el2 Upper 4hlt
U I
Level Boost St (0...1 : Off. On) 18 * 4 Bender Range Lower ft... 15 : 36,24, 12.. .0)
65 » 8x Voluie <0.,,1 Off, On)
; 19 « • Bender Range Upper {0...12 : 0...12)
66 '
Rx Hold (0...1 ; Off, On)

Total size - 00 00 JAH

Total size - OO 00 07H

[Table 15] Rhythm Setup Parameter Inst = B1 (individual)

[Table 12] Patch Parti Parameter (Individual)
11 23 00 Tone Media (0...31 ; 1.01... 31)
10 QS 00 * » Tlabre Ruiber {0...J2T T-001...12B)
: 0! Tone Umber (0...127 : 0...527)
01 * » Voice Reserve (0, .,31 : 0...31] 02 Source Key (0...127 : C-I...G9)
02 4 t Becclva Channel (0...16 : l...16,0ff) 03 ttute Inst (34.. .88 : 0ff.Bl...D7)
03 4 t Key Range Low (0...127 : C-1...C9) 04 Inst Level (0...31 : 0...31)
04 4 fcy Range HI (0...J27 : C-1...0S) 05 Velocity Sens (0...15 : 0...15)
05 4 4 Velo Level (0...1: Above. Below) 05 Env Mode (0... 1 : Sustain No Sustain)
06 4 * Velo Threshold (1... 127 : 1.,. 127) 07 Env Attack Rate (1...1S ; -7... +7)
07 4 * Output Assign {0...4 : Pry.Rev,Cho.Dlrl.'D!r2) 08 Env Decay tote (S...15 j -7.. .+7)
0B 4 . Level {0...J27 : 0...127) 09 Env Release Bate (1...15 : -7...+T)
09 4 4 pan {0...15 : 7>. . >c. . <7. Rnd) OA Pitch Shift Coarse (0...27 : -36. -24, -12....+! 2)
OA 4 t it Voluie (0...I : Off, On) OB Pitch Shift fine (14... 114 : -50... +50)
OB 4 4 gx Pan (0...I : Off.On) DC Chanel After Sens ft... 27 : -36, -24. -12. . . . +12)
K i 4 is Hold (S.,,1 : Off.On) 0D Pory After Sens (0...27 : -36, -24. -12.... +12)
0E Randoe ft. ..15 : 00... 15)
Tola! size « OO 00 ODH OF Auto Bend Depth (0. . . 27 ; -36, -24. -12. . . . + 12)
10 Auto Bend Rate ft,.. 15 : 0...15)
II Detune Depth (0...15 : 0...16)
12 Output Assign (0...3 : Dry,Rev,Cho,Dlr))
13 Pan .(0...15 : 7>..x...<7,Rnd)

Total size - 00 OO ]4H

149
 [ Bulk Dump Area 3 [ Individual Parameter Control Area ]

address Black lB-00-00'-™—"-—""

I Setup ITable a

Setup Heaory I Table 1

lo-M-oat
IPatch Canon ITable 10
00-06-00 IQ-04-S0+
Patch leap ITable I I IPatch Khythi ITable I!
00-10-00
Tiibrc Tesp
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ITIibre [!) i ITable 3 I

ITIibre [2] IPatch

— -—
I
IPart I | ITable 12 I

*——-—--+ t
ITIabre [33
IPart 2 I

I Timbre [4] Part

I 3

ITIibre [5J (Part 4

—
I

' •—- -t
ITIsbre {6) I
IPart 5 I

IPart 6 |

Rhytha Setup Teap!

, t—~ ——
iTable 4 I

lTlibre&J 60bytesl ITSiber 1 I ITable 13 I

02-00-00*

(Table 5
ITIibre 2 I
03-00-00
Patch ITable J I
ITIibre 3
05-00-00'

Rhytlm Setup ITable 7

ITIibra 4 I

«• ---— — ..«
ITIibre 5 I

| . »_
iiap I Patch Map ITable 8 I
I . ITIibre S
-I..,. I *
itlnbre iiap I

11-00-00+-
IBiytlw Slap IBhythi Sewp Coi ITable 14 I

IR. Inst Map I

11-23-00*-
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ISO
RS-PCM Sound Module Date : July 25, 1989
Model u-220 MIDI Implementation Chart Version : 1.00

Transmitted Recognized Remarks

Function •••

Basic Default 1 -16 1 -16 Memorized

Channel Changed 1 -16 1 -16

Default Mode 3 Mode 3

Mode Messages X X
Altered - t***F n!*^f*- 5ft'-3|C .--iC '«¥» -5JC

Note X 0-127
Number True Voice ********* 0-127

... ti
Velocity
Note
„,
ON X O
Note OFF X X

After Key's X
Touch Ch's X o
Pitch Bender X * 1
9 bit resolution
0-5. 7-31, 64-95 X * 1 (assignable) prm1, 2, 3

1 X O Modulation
7 X O Volume
10 X o Panpot
64 X Hold 1
Control
Change

100, 101 *2 (RPN#1) *2 (RON#0, #1) RPN LSB. MSB

6, 38 *3 *3 Data Entry MSB, LSB

121 X O Reset all Contoroiers

Prog X *1 0-127 * 3
Change True # ********* 0-127
System Exclusive * 2 *2

e .
Song Pos X X
System
~ Song Sel X X
Common
Tune X X

System Clock X X
Real Time Commands X X

Local ON/OFF X X
Aux All Notes OFF X
Message Active Sense X O
Reset X X

Notes * 1 Can be set to O

or x manually, and memorized.
* 2 Can be memorized manually.
*3 RPN = Registered Parameter Number
RPN # : Pitch Bend Sensitivity
RPN # 1 : Master Fine Tune

Mode OMNI ON, POLY Mode 2: OMNI ON, MONO

1 :
O : Yes
Mode 3 : OMNI OFF. POLY Mode 4 OMNi OFF, MONO x
:
: No
 IHow to read a MIDI Implementation Chart

O: MIDI data that can be transmitted or • Aftertouch

received Key's: polyphonic aftertouch
x : MIDI data that cannot be transmitted or Ch *s: channel aftertouch
received
• 1 : Transmission or reception can be turned • Pitch Bender
on or off. The setting is remembered even The bender range setting of each Timbre
when the power is turned off. determines the range of pitch change caused
•2 : Transmission or reception can be turned by pitch bender data. When set to 0, pitch
on or off. bender data will be ignored.

• Basic Channel • Control Change

The MIDI channel for transmitting (receiving) This indicates the control numbers that can be
MIDI data can be specified over this range. transmitted (received), and what they will
The MIDI channel setting is remembered even control. For details, refer to the MIDI
when the power is turned off. implementation.

• Mode • Program Change

Most recent synthesizers use mode 3 The program change numbers in the chart
(omni off, poiy). indicate the actual data.
Reception: Data is received only on the (This is one less than the Pitch and Timbre
specified channels, and program change numbers.)
played polyphonically.
Transmission: Ali musical data is • Exclusive
transmitted on the specified Exclusive message reception can be turned on/
MIDI channel. off by the exclusive switch (setup).

*"Mode" refers to MIDI Mode massages. • Common, Realtime

These MIDI messages are used to synchronize
• Note Number sequencers and rhythm machines. The U-220
This is the range of note numbers that can be does not use these messages.
transmitted (received. Note number 60 is

middle C(C4)). • Other

The U-220 does not transmit this message. These messages are mainly used to keep a
MIDI system running correctly.
• Velocity
This is the range over which velocity can be
transmitted (received) by Note On and Note
Off messages.

152
153
 SPECIFICATIONS
U-220 : RS-PCM sound module

[Sound generator} [Weight]

RS-PCM type 4.4 kg/9 lb 11oz

Maximum simultaneous notes: 30 notes
Output impedance; 1.2 k Q
'

'[Power consumption}

[Front pane!] 20W(117/220/240V)

VOLUME knob
PART/ INST buttons [*""]
(P«~l ) [Included items]
CURSOR buttons ( P^~j [""] )

VALUE button ( []g~J QTj Audio cable (2.5m) x 1

EXIT button M!Di cable (1m) x 1

ENTER button Owner's manual
EDIT/ REVERB button Factory Settings
DATA/CHORUS button
JUMP button
MARK button [Optional items]
PCM CARD slot x 2
PHONES jack Sound library SN-U110 series
POWER switch Stereo headphone RH-100
Audio cable PJ-1
MiDI/SYNC cable MSC-07/15/25/50/100
[Display]
* The Included MIDI cable Is for MIDI only. It cannot be
24 character 2 line LCD (with backlight) used for DIN SYNC or audio.

* Specifications and appearance are subject to change

[Indicator] without notice for product Improvement

MIDI MESSAGE indicator

[Rear panel]

MIDI connectors (IN, OUT, THRU)

Output terminals (MIX OUT L/R, DIRECT OUT 1 L/R,
DIRECT OUT 2 L/R)
FIXED /VARIABLE switch

[Dimensions]

482 (W) x 358 (D) x 45 (H) mm

19" x 14-1/8" x 1-3/4"
EIA — 1 U rack mount type

154
 INDEX

INDEX
[A] [E]

Auto Bend Edit

Timbre/ Pitch .
69 Setup -
45
Rhythm Inst/Pitch 77 Patch 53
Timbre *
64
[B] Rhythm Set 71
-Edit Mode - - • • • -45
Bender Range Effect 54
Timbre/Pitch 68 Env
Rhythm Set/Pitch 72 Timbre 67
Boost *
63 Rhythm Inst 72
Bulk Dump Exchage
Setup 91 Patch 83
Temp 92 Timbre • • • •
85
Memory 92 Rhythm Set 87

[C] m
Ch After Sens Feedback •
55
Tim bre / Pitch 67
/Vibrato 68 lh
/Level 71
Rhythm Inst/Pitch 76 Initialize

Chorus 54 Setup 95
Chorus Level 55 Temp 96
Chorus Type 54 Jump Page 96
Copy
Patch 83 [J]
Timbre 85
Rhythm Set 87 Jump 37
Copy+Ren
Timbre 85 [Kl
Rhythm Set 87
Ctrl 56 Key Range 59

[D] [L]

Delay Feedback 56 Level

Delay Time Timbre • • • • • •
66
Chorus 55 Rhythm Inst -75
Timbre/ Vibrato 70 LCD Contrast 46
Depth
Chorus 55 [M]
Timbre/ Vibrato 70
Detune Depth MIDI 17
Timbre/Pitch 69 MIDI Monitor 97
Rhythm Inst/Pitch 78 Mark 37
>
Device ID 48 Master Tune 46
Modulation Depth *
71

155
 INDEX

[O] RxHold
1 - 6Part 61
Output Assign R.Part 64
1 - 6Pait • • • • -61 Rx Pan — -
60
Rhythm Inst 78 Rx Patch Change 47
Output mode 54 Rx Rhythm Change 47
Rx Rhythm Inst Assign • • -48
tP] RxSyrEx "'"•
: . . . . ..... . : .45

Rx Timbre Change 47
Pan Rx Volume
! - 6Part 62 1 - 6Part 60
Rhythm Inst 78 R.Part •• ••••• •
63
Parameter Dump 45
Part 24 [S]
Part Copy 63
Part Level Setup .45
1 - 6Part 62 Source Number 74
Rhythm Part 63
Patch 24 [T]
Patch Map 50
Patch Name 53 Timbre 24
PCM Card 66 Timbre Map 51
Pitch Randomize 77 Timbre Name 65
Pitch Shift Tone 24
Timbre/Pitch 68
Rhythm Inst /Pitch 76 [V]
Poly After Sens
Timbre / Pitch 69 VeloSens
/Vibrato 71 Timbre/Level 66
Rhythm Inst/Pitch 77 Rhythm Inst/Level 75
Velo Thresh 60
[R] Voice Reserve
1 -6Part 58
R.Inst Map 51 R.Part 63
ROM Play 97
Rate [W]
Chorus 55
•'

Timbre/Vibrato 70 Waveform 70
Reverb •
56 Write
Reverb Level 56 Patch 82
Reverb Time .56 Timbre •-*••-•- 34
Reverb Type 56 Rhythm Set ••
86
Rhythm Inst 73 Write+Ren
Rhythm Map 51 Timbre •
85
Rhythm Setup 24 Rhythm Set 87
Rise Time 70
RxCh
1- 6Part 59
R.Part 63
Rx Control Ch 46

156
MEMO

157
 MEMO

158
 For Nordic Countries-

Apparatus containing Lithium batteries

n-ADVARSEL! VARNING!
" ""-..«.'AV - '-•:
' *
-

UtWtartjattai' Efeffasronsfare. ,'

" ' UtiThimbatteri. Expfosonsrisk.

U&foftning mi toi foretages af ei sagkyndg, Far endast bytas ay faehorig serviatsJmiker.

'

og som beskrevet i serocemanuaL -

Sa bstni&ner i servicemaiaiaten.

•
:± ^ADVARSEL! varouus!
UffuurnbatteriTwe. f cnr^ek^ifo&on. '.'.
Uttiiumparista Rajahdysvaara.

Ml bare skiftss av kvaffisert tekraker son Pariston saa vaSte asioastaan

bestoHvet sefvicEmarajalai
' ' "
i
. aian atnmotfrnes.

•For West Germany-

Hiermit wtrd bescheinigt, daG der/die/das in Obereinstimmung mit den Bestimmungen der

.
RS-PCM SOUND MODULE £220_
:

#
Amtsbi. Vfg 1046/1984
(GertL Typ. Bazaichnung) (AmlstJlattvBriQgung)

funk-ertstort ist

Der Deutschen Bundespost wurde das invarkehrbringen dieses GerStes angezeigt und die Berechtigung zur Oberprufung
der Serie auf Bnhaltung der Bestimmungen eingeraunrl

Roland Corporation Osaka/Japan

Name des Mersteliers/lmporteure

For the USA-

RADIO AND TELEVISION INTERFERENCE
WARMING — Trta equipment rias been verified to comity v^ the Br^
non-certified or norvverfned equiprnenl is ferty 10 result in Interference to radio and TV reception.
JteeodprrantdesertwdintMsmsruaioerie^^
may cause mwterencs with radio and television reception. Tta eouipmero has t*Hm »sl»3 A^ loortf uj
ti

**^ opacifications In Subpart J, e< Part 15, ott^

Hov«ver. there is na guarantee that the interference wis not occur In a particular truslaoatioa If tr«s equiprr^ ce^
canoadeUmror^tyrurr^Hwequiprivwonand^ me interference by me following measure:
• Otaxvwa other devices and their ****busprt cables or» at a Irru^^
T^
devk^ usuaiiy reotare RoU^ oesjgraied imWded TO
rime. !! the;

devices, contact the manufacturer or dealer (or assistance.

U your equipment does cause Iniederenoe to radio or television reception, you can try to correct the interference by using one or more of the toflovwre measures
• Turn the TV or radio antenna una the .Interference stops.
« Mip^t^-eouiprmrtBortesiceorthewtierrjrmeTUorraiSo.
• Move the equipment larther away bom the TV or race.
• P^theequismertintomoutialtr^isonaoWiirertaro^thantheW
trotted by different dreuft breakers or arses.)
• Consider instafing a rootop latevtsion antenna wtth coaxial cable lead-in between ma antenna and TV, II necessary, you should consult your deaiet or an experienced
raoooetevtaon technician lor adeWonai suggestions. You rray 6rrt helpful rm fonow^
"How to Identify and Resolve Radio —
TV Interference Problems-
This booklet Is available from the US. Government Printing Office. vvashngwn. D.C.. 20402, Stock No. 00*-00rKX»4S4,

•For Canada-
CLASS B NOTICE
This digital apparatus does not exceed the Class B limits for radio noise emissions set out in the Radio Interference
Regulations of the Canadian Department of Communications.

CLASSE B AVIS
Cel appareil numerique ne depasse pas les limites de la classe B au niveau des emissions de bruits radioelectriques fixes
dans le Reglemeni des signaux parasites par le ministere canadien des Communications,
[^Roland
10490

UPC 10490

IllRoland ®