Front Panel.................................................................................................................................................11
Choosing a Patch......................................................................................................................................21
Basic Procedure for Choosing a Patch .......................................................................................21
Choosing a Bank............................................................................................................................21
Choosing a Patch by Category (Patch Finder)..........................................................................21
Setting a Patch’s Pitch in Octave Steps (Octave Shift) ........................................................................23
Switching Modes (Patch, Performance, or Rhythm Set).....................................................................23
Playing Multiple Layered Patches (Layer)...........................................................................................25
Turning Effects On and Off..................................................................32
Making a List of Your Favorite Patches..............................................33
Registering a Patch in the FAVORITE LIST.........................................................................................33
Selecting a Patch from the FAVORITE LIST ........................................................................................34
Connecting to a Computer...................................................................35
Connecting with USB Connector...........................................................................................................35
Connecting with MIDI Connectors........................................................................................................35
About Patches and Performances......................................................36
What Is a Patch?........................................................................................................................................36
What Is a Performance?...........................................................................................................................36
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7
Contents
Advanced Use..............................37
Chapter 1 Creating a Patch..................................................................38
How a Patch Is Organized ......................................................................................................................38
How a Tone Is Organized............................................................................................................38
Tips for Creating a Patch.........................................................................................................................38
Choosing the Tones That Sound (Tone On/Off).................................................................................39
Settings Common to the Entire Patch (COMMON)............................................................................39
More Advanced Editing of Tones..........................................................................................................43
Tips for Choosing a Waveform...................................................................................................43
Changing a Waveform (WAVE).................................................................................................44
Saving Rhythm Sets You Create.............................................................................................................62
Copying the Settings of Another Rhythm Tone (Rhythm Key Copy)..............................................62
Chapter 3 Creating a Performance......................................................63
How a Performance Is Organized..........................................................................................................63
Basic Ways to Use Performances ...........................................................................................................63
Turning a Part On or Off.........................................................................................................................63
How to Adjust a Performance Setting...................................................................................................63
Establishing Settings for an Entire Performance (COMMON)..........................................................64
Setting the Keyboard Range........................................................................................................64
Other Settings................................................................................................................................64
Settings for Each Part...............................................................................................................................65
Choosing a Part’s Patch or Rhythm Set.....................................................................................65
Setting a Part’s Volume, Pan, Pitch, and Polyphony...............................................................65
Editing the Attack and Release of a Part’s Sound....................................................................65
Changing the Pitch........................................................................................................................66
Changing the Way a Part’s Sound is Played.............................................................................66
CMBCOMBINATIONOther Patches which use Split and Layer
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23
Playing Sounds
Quick Start
Setting a Patch’s Pitch in Octave Steps
(Octave Shift)
In Patch mode, you can easily change the pitch of an entire Patch.
Each time you press [ CURSOR]/[CURSOR ], the pitch changes in one-octave
steps. You can adjust a Patch’s pitch by as much as +/- 3 octaves.
fig.0-09
Switching Modes (Patch, Performance, or
Rhythm Set)
In addition to Patch mode, the XV-5050 also features three other modes: Performance
mode, Rhythm Set mode, and GM2 mode.
PERFORM (
Performance Mode)
Choose this mode when using the XV-5050 as a multitimbral sound module or when
changing Performance settings.
When you press [PERFORM], its indicator lights, and you enter Performance mode.
PATCH (
Patch Mode)
Choose this mode when playing a single Patch from a keyboard or when changing
Patch settings.
When you press [PATCH], its indicator lights, and you enter Patch mode.
RHYTHM (
Rhythm Set Mode)
Choose this mode when playing Rhythm Sets from a keyboard or when changing
Rhythm Set settings. XV-5050 Rhythm Sets can be used in any Part in a Performance.
You can also select the desired multi-effects for a Rhythm Set.
When you hold down [SHIFT] and press [PATCH], the [PATCH] indicator blinks,
and you enter Rhythm Set mode.
GM (
General MIDI 2 Mode)
Choose this mode when using the XV-5050 as a General MIDI 2 compatible sound
module.
When you hold down [SHIFT] and press [PERFORM], the [PERFORM] indicator
blinks, and you enter General MIDI 2 mode.
General MIDI is a set of recommendations that standardizes the MIDI capabilities of
sound modules. Sound modules and music files that adhere to the General MIDI
standard bear the General MIDI logo (). Music files bearing the General MIDI
logo can be played back using any General MIDI sound module with essentially the
same musical results.
The upwardly compatible General MIDI 2 () recommendations pick up where
General MIDI leaves off, offering enhanced expressive capabilities and even greater
compatibility.
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24
Playing Sounds
Issues not covered by the original General MIDI standard – such as how sounds are
to be edited, and how effects should be handled – are precisely defined in General
MIDI 2. Moreover, the available sounds have been expanded. General MIDI 2
compliant sound modules are capable of reliably playing back music files that carry
either the General MIDI or General MIDI 2 logo. In some cases, the conventional
form of General MIDI, which does not include the new enhancements, is referred to
as “General MIDI 1” as a way of distinguishing it from General MIDI 2.
What is a Performance?
With Performances, you can combine a total of up to sixteen separate Patches and
Rhythm Sets to produce complex, rich ensemble textures. In other words, a
Performance allows you to produce sixteen separate sounds with a single XV-5050.
A sound module that can simultaneously produce multiple sounds – such as the XV-
5050 – is called a “multitimbral” sound module.
What is a Rhythm Set?
A Rhythm Set is a group of percussion instrument sounds. Since these sounds are
not typically used for performing melodies, it’s not necessary to play them at
different pitches across a keyboard. However, it is important to be able to play a
number of percussion instruments at the same time. A Rhythm Set lets you play
different percussion sounds by pressing different keys on your keyboard.
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25
Playing Sounds
Quick Start
Playing Multiple Layered Patches (Layer)
The collected assignment of Patches or Rhythm Sets to the XV-5050’s sixteen Parts is
referred to as a “Performance.”
fig.Performance
You can set a number of Parts to the same MIDI reception channel so that their
Patches sound at the same time. This type of Performance is referred to as a
Layer
.
Let’s try this technique using Performance “PB:001 Dulcimar&Gtr,” playing two
layered Patches.
Selecting Performance “PB:001 Dulcimar&Gtr”
1.
Press [PERFORM] to make its indicator light.
2.
Use [BANK ] and [VALUE] to choose “PB:001 Dulcimar&Gtr.”
Set the MIDI keyboard send channel to “1,” and play the keyboard. Since the Patches
for Part 1 and Part 2 are layered, they play together.
Performance
Patch/
Rhythm set
Part 1
Part 9
Part 10
Part11
Part 16
Patch/
Rhythm set
Patch/
Rhythm set
fig.0-10
2
2
1
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26
Playing Sounds
Turning a Part On or Off
Let’s try turning the Parts used in a Performance on and off.
In Performance PB:001 Dulcimar&Gtr, Parts 1, 2 and 10 are turned on.
Let’s try turning Part 2 on and off.
First, make sure Performance “PB:001 Dulcimar&Gtr” is selected.
1.
Press [EDIT] to make its indicator light.
2.
Press [ CURSOR] a few times to move the cursor to the upper line
of the display.
3.
Turn [VALUE] to choose “MIDI.”
fig.00-08
4.
Press [CURSOR ] to move the cursor to the lower left of the
display.
5.
Turn [VALUE] to choose “Rx Switch.”
6.
Press [ PART]/[PART ] to choose Part 2.
fig.00-09
7.
Press [CURSOR ] to move the cursor to the lower right of the
display.
8.
Turn [VALUE] to choose “OFF” or “ON.”
9.
Press [EXIT] to return to the PERFORM PLAY screen.
fig.0-11
4, 7
1
3, 5, 8
9
2
6
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27
Playing Sounds
Quick Start
Assigning a New Patch to a Part
Here’s how to change the Patch assigned to a Part in a Performance.
We’ll change the patch assigned to Part 2 of Performance “PA:001 Seq:Template” to
“PB:018 Slap Bass 1.”
On the PERFORM PLAY screen, choose Performance “PA:001 Seq:Template.”
1.
Press [PERFORM] and [PATCH] to make their indicators light.
The patch assigned to the current part appears.
fig.00-10
2.
Press [ PART]/[PART ] to choose Part 2.
fig.00-11
3.
Turn [VALUE] to choose “018 Slap Bass 1.”
4.
Press [PERFORM] to return to the PERFORM PLAY screen.
Changing the MIDI Reception Channel of Each Part
On the PERFORM PLAY screen, choose the Performance you wish to use.
1.
Press [EDIT] to make its indicator light.
2.
Press [ CURSOR] a few times to move the cursor to the upper line
of the display.
3.
Turn [VALUE] to choose “MIDI.”
4.
Press [CURSOR ] to move the cursor to the lower left of the
display.
5.
Turn [VALUE] to choose “Rx Channel.”
6.
Press [ PART]/[PART ] to choose the Part you wish to set.
fig.00-12
7.
Press [CURSOR ] to move the cursor to the lower right of the
display.
8.
Turn [VALUE] to choose the desired MIDI channel.
9.
Press [EXIT] to return to the PERFORM PLAY screen.
You can play multiple Parts
— and their Patches —
simultaneously by setting
them to the same MIDI
reception channel.
Phrase Preview feature is also
available in Performance
mode. The patch on the current
part will sound.
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28
Playing Sounds
Playing Different Patches In Different Areas
of the Keyboard (Split)
In a Performance, you can divide the keyboard into separate ranges and assign a
different Patch to each range. This can be done by selecting the same MIDI reception
channel for multiple Parts and then changing the pitch range over which each Part
plays. This type of keyboard setup is referred to as a
Split
.
A split is like a layer in which the Parts’ pitch ranges don’t overlap (Playing Multiple
Layered Patches).
Let’s create a split using Performance “PB:029 Organ/Lead.”
Selecting Performance “PB:029 Organ/Lead”
1.
Press [PERFORM] to make its indicator light.
2.
Use [BANK ] and [VALUE] to choose “PB:029 Organ/Lead.”
Play your MIDI keyboard (MIDI transmit channel = 1).
In this Performance, the note range settings for Part 2 and Part 3 are shown below.
Part 2: C4–G9
Part 3: C-1–B3
fig.0-12
2
2
1
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29
Playing Sounds
Quick Start
Setting the Note Range of Each Part
Now let’s change the settings so that Part 2 sounds in the C5–G9 range and Part 3
sounds in the C-1–B4 range.
First, make sure Performance “PB:029 Organ/Lead” is chosen.
1.
Press [EDIT] to make its indicator light.
2.
Press [ CURSOR] a few times to move the cursor to the upper line
of the display.
3.
Turn [VALUE] to choose “COMMON.”
4.
Press [CURSOR ] to move the cursor to the lower left of the
display.
5.
Turn [VALUE] to choose “Key Range Lower.”
6.
Press [ PART]/[PART ] to choose Part 2.
7.
Press [CURSOR ] to move the cursor to the lower right of the
display.
8.
Turn [VALUE] to choose “C5.”
9.
Press [ CURSOR] to move the cursor to the lower left of the
display.
10.
Turn [VALUE] to choose “Key Range Upper.”
11.
Press [PART ] to choose Part 3.
12.
Press [CURSOR ] to move the cursor to the lower right of the
display.
13.
Turn [VALUE] to choose “B4.”
14.
Press [EXIT] to return to the PERFORM PLAY screen.
Play your MIDI keyboard and notice how the Part’s ranges have changed.
fig.0-13
4, 7
12
1
3, 5, 8
10, 13
14
2
9
6
11
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30
Playing Sounds
Using an External MIDI Device to Select
Patches and Change Other Settings
Selecting Patches and Rhythm Sets
You can change Patches – including the Patches in each Part of a Performance – and
Rhythm Sets on the XV-5050 via MIDI Part.
In this example, after setting the send channel for the external MIDI device and the
XV-5050’s reception channel (Patch Rx Channel) to “1,” we’ll send a MIDI message
from the external MIDI device to select the XV-5050 Patch “PB:018 Slap Bass 1.”
1.
Use a MIDI cable to connect the MIDI OUT connector on the external
MIDI device to the XV-5050’s MIDI IN connector.
2.
Press [PATCH] to make its indicator light.
3.
Set the channel used for transmission by the external MIDI device and
the XV-5050’s reception channel to the same MIDI channel (see p. 19).
*A Factory Reset sets the reception channel in Patch mode to MIDI Channel 1.
4.
Send a Bank Select MSB (Control Number 0) value of “87” to the XV-
5050.
*If you want to select a Rhythm Set, send a value of “86.”
5.
Next, send a Bank Select LSB (Control Number 32) value of “65.”
6.
Send a Program Change with a value of “18.”
The Patch name appearing in the display changes to “PB:018 Slap Bass 1.”
*Each Patch or Rhythm Set has a corresponding Bank Select number and Program number,
as shown below.
PatchesBank Select numberProgram
number
BankNumberMSBLSB
US (User)
001–1288700001–128
PA (Preset A)001–1288764001–128
PB (Preset B)001–1288765001–128
PC (Preset C)001–1288766001–128
PD (Preset D)001–1288767001–128
PE (Preset E)001–1288768001–128
PF (Preset F)001–1288769001–128
PG (Preset G)001–1288770001–128
PH (Preset H)001–1288771001–128
GM (GM2)001–2561210–001–128
XA (Expansion A)001–930–001–
XB (Expansion B)001–930–001–
A Factory Reset sets the
reception channel in Patch
mode to MIDI Channel 1.
Numbers for XA and XB
will be different depending
on the Wave Expansion
Board you’ve installed. For
more information, refer to
the manual for the SRX.
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31
Playing Sounds
Quick Start
Selecting Performances
To switch Performances, after matching the send channel for the external MIDI
device with the XV-5050’s Performance Control channel (Control Channel p. 108),
send the Bank Select number and Program Change messages.
Upon execution of Factory Reset,
Performance Ctrl-Ch
is set to “16.” Here, set the
external MIDI device’s send channel to “16,” then try switching the Performance to
PB:029 Organ/Lead.
1.
Use a MIDI cable to connect the MIDI OUT connector on the external
MIDI device to the XV-5050’s MIDI IN connector.
2.
Press the [PERFORM] button, lighting the indicator.
The XV-5050 reverts to Performance mode.
3.
Set the external MIDI device’s send channel to “16.”
For instructions on making this setting, refer to the owner’s manual for the external
MIDI device.
4.
Send a Bank Select MSB (Control Number 0) with a value of “85” to
the XV-5050.
5.
Next, send a Bank Select LSB (Control Number 32) with a value of
“65.”
6.
Send a Program Change with a value of “29.”
The Performance name appearing in the page changes to PB:029 Organ/Lead.
fig. 42.e
*Each Performance has a corresponding Bank Select number and Program number, as shown
below.
Rhythm Sets
Bank Select numberProgram
number
BankNumberMSBLSB
US (User)
001–0048600001–004
PA (Preset A)001–0028664001–002
PB (Preset B)001–0028665001–002
PC (Preset C)001–0028666001–002
PD (Preset D)001–0028667001–002
PE (Preset E)001–0028668001–002
PF (Preset F)001–0028669001–002
PG (Preset G)001–0028670001–002
PH (Preset H)001–0028671001–002
GM (GM2)001–00912000001–057
XA (Expansion A)001–920–001–
XB (Expansion B)001–920–001–
Performances
Bank Select numberProgram
number
BankNumberMSBLSB
US (User)
001–0648500001–064
PA (Preset A)001–0328564001–032
PB (Preset B)001–0328565001–032
Numbers for XA and XB
will be different depending
on the Wave Expansion
Board you’ve installed. For
more information, refer to
the manual for the SRX.
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32
Turning Effects On and Off
You can turn each of the XV-5050’s built-in effects processors (multi-effects, chorus,
reverb, and equalizer) on or off for the entire XV-5050, regardless of its current mode
(Performance, Patch, and Rhythm Set).
1.
Hold down [SHIFT] and press [PATCH FINDER] to make its indicator
blink.
fig.00-13
2.
Press [ CURSOR]/[CURSOR ] to choose the effects processor to
be turned on or off.
3.
Turn [VALUE] to turn the effect on or off.
fig.0-14
3
1
2
MFX (Multi-Effects)
The MFX (Multi-Effects) group offers 90 different effect types. In addition to single
effects such as distortion and delay, the XV-5050 also provides a number of multiple
effects that combine several single effects. The multi-effects group also includes
chorus and reverb effects in addition to the separate chorus and reverb described
below.
Chorus
Chorus adds fatness and breadth to the sound.
Reverb
Reverb adds an ambience to sounds so they seem to be playing in an actual physical
space.
EQ (Equalizer)
Equalizer boosts or cuts specific frequencies within a sound.
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33
Quick Start
Making a List of Your Favorite Patches
Registering a Patch in the FAVORITE LIST
You can bring together your favorite and most frequently used Patches in one place
by registering them in the
FAVORITE LIST
. The
FAVORITE LIST
gives you
immediate access to your favorite Patches, whether they’re in the XV-5050 itself or
on Wave Expansion Boards. You can register up to 64 Patches in this list.
1.
On the PATCH PLAY screen, choose the Patch you want to register.
2.
Press [VALUE].
The FAVORITE LIST screen appears.
fig.00-14
3.
Turn [VALUE] to choose the desired registration destination number.
*There is no factory list of favorites.
4.
Hold down [SHIFT] and press [ENTER] to execute the registration.
Press [SHIFT] to display the Registration screen shown in the figure below.
fig.00-15
*To cancel the registration, press [EXIT].
5.
Press [EXIT] to return to the PATCH PLAY screen.
fig.0-15
2, 34
When you choose a favorite
Patch on a Wave Expansion
Board, no sound is
produced for the Patch
unless the corresponding
Wave Expansion Board is
installed.
Directly registering to the list on the PATCH/RHYTHM PLAY page
The following display appears when [SHIFT] is pressed while on the PATCH/
RHYTHM PLAY page.
fig.00-052a.e_80
If [ENTER] is pressed at this stage, the data is registered to the lowest-numbered
opening on the list.
Although the message “COMPLETE” instantly appears in the display when the
registration is executed, if the registration cannot be carried out because the list is
full, the message “Favorite List Full” is displayed instead.
To delete the registration,
select the patch you want to
delete, and then hold down
[SHIFT] and press [EXIT].
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34
Making a List of Your Favorite Patches
Selecting a Patch from the FAVORITE LIST
1.
On the PATCH PLAY screen, press [VALUE].
The FAVORITE LIST screen appears.
fig.00-16
2.
Turn [VALUE] to select the desired Patch.
3.
Press [VALUE] or [ENTER] to confirm your choice and return to the
previous screen.
*To cancel the selection, press [EXIT].
fig.0-16
1, 2, 3(3)
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35
Quick Start
Connecting to a Computer
If you’re running music software on your computer, you can use the computer to
control the operation of the XV-5050. This allows you to create and play back song
data, select sounds on the XV-5050 from the computer, and create new XV-5050
sounds on the computer.
Two Ways to Connect
You can connect the XV-5050 to a computer using either of two methods:
connecting it with a USB connector
and
connecting it with MIDI connectors
.
A USB cable can connect the XV-5050 to your computer’s USB connector.
A MIDI interface is required for making MIDI connections with a computer. The
MIDI interface is connected to the computer, and two MIDI cables connect the MIDI
connectors of the MIDI interface to the XV-5050’s MIDI connectors.
Connecting with USB Connector
fig.Connection1 (Connection Sample with USB)
Connecting with MIDI Connectors
fig.Connection2 (Connection Sample with MIDI)
USB cable
XV-5050
USB connector
of your computer
Ct
Once the USB MIDI driver
is installed, it’s not
necessary to turn off the
power for your computer
or the XV-5050 when using
a USB cable to connect your
computer to the XV-5050.
XV-5050 Rear Panel
MIDI Cable
MIDI Cable
MIDI
Interface
MIDI INMIDI OUT
Computer without
a USB connector
To prevent malfunction and/
or damages to speakers or
other devices, always turn
down the volume, and turn
off the power on all devices
before making any
connections.
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36
About Patches and Performances
On the XV-5050, sounds are organized according to units called
Tones
,
Patches
,
Rhythm Sets
, and
Performances
. This section describes the relationship between
a Patch and a Performance.
What Is a Patch?
The type of sound most commonly played on the XV-5050 is called a
Patch
. A Patch
is a combination of
Tones
, which are the smallest units of sound. Each Patch can
contain up to four Tones. If we use the analogy of an orchestra, then Patches are the
musical instruments of the performers.
*For information on Tones, see p. 38.
fig.1-01.e
*You can turn the Tones in a Patch on or off. Only Tones that are turned on are heard when
you play the Patch (p. 39).
What Is a Performance?
It may be easiest to think of a
Performance
as being the orchestra itself.
To continue the orchestra analogy, a Performance is made up of the parts assigned
to the respective instruments (called, naturally enough, “Parts”). You can enjoy
ensemble play by combining a total of 16 Patches or Rhythm Sets into one such Part.
fig.Performance.e
In other words, a Performance allows you to produce sixteen separate sounds with
a single XV-5050.
Tone
1
Tone
3
Tone
4
Tone
2
Performance
Patch/
Rhythm set
Part 1
Part 9
Part 10
Part11
Part 16
Patch/
Rhythm set
Patch/
Rhythm set
If You're Playing Back Song Data Using an External MIDI
Instrument or Sequencing Program
On the XV-5050, press [PERFORM] so its indicator lights, change to the Performance
mode, then start playback of the song data.
*The Patch mode is selected by default. Please be aware that if you try to play song data while
in the Patch mode, only the sound of one Part is played.
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37
Advanced Use
Advanced Use
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38
Chapter 1 Creating a Patch
How a Patch Is Organized
The type of sound most commonly played on the XV-5050 is called a
Patch
. Each Patch can contain up to four Tones.
fig.1-01.e
You can turn the Tones in a Patch on or off. Only Tones that are
turned on are heard when you play the Patch. (p. 39)
You can also set the structure of a Patch to specify how Tones 1 and 2
and Tones 3 and 4 are combined. (p. 41)
How a Tone Is Organized
Tones are the smallest programmable unit of sound on the XV-5050,
and are the basic building blocks that make up a Patch. You can’t
play a Tone by itself—it can only be played as part of a Patch or
Rhythm Set. A Tone consists of the following five components.
fig.1-02.e
WG (Wave Generator)
This selects the PCM waveform material that provides the basis of
the Tone. Two waveforms can be assigned to each Tone.
The XV-5050 has 1083 different waveforms. (See Waveform List p.
138.)
All Patches built into the XV-5050 consist of combinations of Tones
based on these waveforms.
TVF (Time Variant Filter)
This specifies how the frequency components of the Tone change.
TVA (Time Variant Amplifier)
This determines how the volume and panning of the Tone change.
Envelope
An envelope applies changes to the Tone over time. There are
separate envelopes for pitch, TVF (filter) and TVA (volume). For
example, you would use the TVA Envelope to modify the way in
which the Tone attacks and decays.
LFO (Low Frequency Oscillator)
Use the LFO to create cyclical changes—or cyclical “modulation”—
in a Tone. Each Tone has two LFOs. An LFO can be applied to the
Tone’s pitch settings, TVF (filter), and TVA (volume). When an LFO
is applied to pitch, a vibrato effect is produced. When an LFO is
applied to the TVF cutoff frequency, a wah-wah effect is produced.
When an LFO is applied to the TVA volume, a tremolo effect is
produced.
Tips for Creating a Patch
•Choose a Patch that’s similar to the sound you wish to create.
When you want to create a new sound, it’s a good idea to begin
with a Patch that’s close to the sound that you have in mind.
Starting with a Patch that bears no resemblance to the one you
want to create is likely to result in much more programming
work for you. (
Choosing a Patch
(p. 21))
•Decide which Tones will sound
When creating a Patch, it’s important to decide which Tones you
want to use. It’s also important to turn off unused Tones to avoid
wasting voices, unnecessarily reducing the number of
simultaneous notes you can play. (See “Choosing the Tones That
Sound” (p. 39).)
•Check the way in which the Tones are combined
Structure Type 1&2 and 3&4 are important parameters that
determine how the four Tones are combined. Before you select
new Tones, make sure you understand how the currently
selected Tones are affecting each other. (p. 41)
•Turn off effects
Since the XV-5050 effects have such a profound impact on its
sounds, turn off a Patch’s effects during programming so you
can more clearly hear the changes you’re making. Actually,
sometimes just changing effects settings can give you the sound
you want. (p. 70)
Example 1:A Patch consisting of only one Tone
(Tones 2—4 are turned off).
Example 2: A Patch consisting of four Tones.
Tone
1
Tone
2
Tone
1
Tone
4
Tone
3
Tone
4
Tone
2
Tone
3
WG
Pitch
Envelope
TVF
TVF
Envelope
TVA
Envelope
TVA
LFO 1
LFO 2
Tone
audio signal
control signal
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Chapter 1 Creating a Patch
Chapter 1
Choosing the Tones That Sound
(Tone On/Off)
Here’s how to turn on the Tones that you want to hear in a Patch.
You can also use the on/off technique described in this section to
audition an individual Tone by turning off all the other Tones in a
Patch.
fig.1-03
1.
Make sure that the PATCH PLAY screen is displayed.
2.
Choose the Patch you wish to use.
3.
If [TONE]’s indicator lights, press [TONE] to make its
indicator dark.
4.
Press TONE SW [1]–[4] to turn the corresponding Tone on
so that its indicator lights, or off so that its indicator goes
dark.
Settings Common to the Entire
Patch (COMMON)
How to adjust a Patch setting, or “parameter”:
1.
Choose the Patch you wish to use.
2.
Press [EDIT] to make its indicator light.
3.
Press [ CURSOR] a few times to move the cursor to the
parameter group at the upper line of the display.
4.
Turn [VALUE] to choose “COMMON.”
5.
Press [CURSOR ] to move the cursor to the parameter.
6.
Turn [VALUE] to choose the parameter you want to set.
7.
Press [CURSOR ] to move the cursor to the value.
8.
Turn [VALUE] to choose the desired value.
9.
Press [EXIT] to return to the PATCH PLAY screen.
A “*” symbol appears at the left of the Patch name, indicating
that its settings have been changed.
fig.1-05
If you turn off the power or choose another Patch while the “*”
symbol is displayed, your new Patch settings will be lost. If you
wish to preserve them, save the changed Patch using the Write
operation. (p. 104)
Selecting a Tone for Editing
(Tone Select)
Some parameters can be set independently for each Tone in a Patch.
fig.1-03
1.
Make sure that the PATCH EDIT screen is displayed.
2.
Press [TONE] to make its indicator light.
3.
Press TONE SW [1]–[4] to choose the Tone you wish to set
up.
Its indicator lights, and the chosen Tone’s number appears in the
upper right of the display.
fig.1-05
43
ValueParameter
Parameter Group
32
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40
Chapter 1 Creating a Patch
Settings Common to the Entire Patch
*Parameters that can be set independently for each Tone are indicated by T.”
Parameter
ValueDescription
Name
Patch Namespace, A–Z, a–z, 0–9, ! " #
$ % & ’ ( ) * + , - . / : ; < =
> ? @ [ ¥ ] ^ _ ` { | }
You can give a Patch a name of up to 12 characters. Use [ CURSOR]/[CUR-
SOR ] to move the cursor to a character position, and then turn [VALUE] to
choose the desired character.
CategoryPatch Category(Refer to p. 22)Specifies the type, or “category” of the Patch. The Patch Finder uses this setting.
LevelPatch Level0–127Specifies the volume of the Patch.
*You can specify the level of each Tone in a Patch using the Tone Level parame-
ter (TVA p. 48).
PanPatch PanL64–63RSets the stereo position of the Patch. L64 pans the Patch all the way to the left, 0 is
center and 63R pans it hard right.
*You can specify the pan setting for each Tone in a Patch using the Tone Pan pa-
rameter (TVA p. 48).
*While each Tone in a Patch has its own Pan position, the Patch pan setting shifts
the entire Patch—including all of its Tones—leftward or rightward.
Analog FeelAnalog Feel Depth0–127Specifies the depth of Analog Feel that is applied to the Patch. Traditional analog
synthesizers often exhibited a degree of instability in their tuning. The XV-5050’s
Analog Feel feature can simulate this characteristic.
Ocatve Shift-3–+3Sets the pitch of the Patch in units of an octave.
*This setting can also be adjusted from the PATCH PLAY screen. (p. 23)
Coarse Tune-48–+48Adjusts the pitch of all of the Patch’s Tones simultaneously in semitone steps over
a range of +/-4 octaves.
Fine Tune-50–+50Adjusts the pitch of all of the Patch’s Tones simultaneously in 1-cent steps (1/100th
of a semitone) over a range of 1/2 semitones up or down.
Stretch TuneStretch Tune DepthOFF, 1, 2, 3This setting allows you to apply “stretch tuning” to the Patch. Acoustic pianos typ-
ically use stretch tuning, with their lower range slightly flatter and their higher
range slightly sharper than the actual mathematical tuning ratios dictate. Stretch
is therefore useful when programming a Patch intended to sound like a real piano.
With a setting of OFF, the Patch’s tuning is equal temperament. A setting of 3 pro-
duces the greatest difference in the pitch of the low and high ranges. This diagram
shows the pitch change relative to equal temperament that occurs in the low and
high ranges. Stretch has a subtle effect on the way in which chords resonate.
PriorityVoice PriorityLAST, LOUDESTDetermines how notes are managed when the XV-5050’s maximum polyphony
limit is exceeded (64 voices).
LAST:
Gives priority to the last-played voices. Currently-sounding notes are
turned off in order, beginning with the first-played note.
LOUDEST:
Gives priority to the voices with the loudest volume. Currently-
sounding notes are turned off beginning with the lowest-volume voice.
Output AsgnOutput AssignMFX, OUTPUT A/B,
INDIV 1–4, TONE
Specifies the output destination for the Patch.
MFX:
Sends the Patch into the Multi-Effects. The output destination is deter-
mined by the Multi-Effects output setting.
OUTPUT A/B
: Sends the Patch to the selected pair of OUTPUTs, A or B.
INDIV 1–4:
Sends the Patch to the selected INDIVIDUAL output jack, 1–4.
TONE:
Sends each Tone in the Patch to its programmed output destination.
Clock SourcePatch Clock SourcePATCH, SYSTEM
Selects the timing reference to be used by the Patch. The LFO cycle, M-FX changes,
phrase loop (break beats), and Tone delay time can be synchronized to a clock, or tempo.
PATCH:
Uses the Patch Tempo.
SYSTEM:
Uses the global System Tempo or clock messages received from an
external sequencer.
TempoPatch Tempo20–250Establishes the Patch’s tempo when Clock Source is set to “PATCH.”
*Clock messages for the Patch Tempo are not transmitted from the MIDI OUT
connector.
Cutoff FreqCutoff Offset-63–+63Simultaneously lowers or raises the individual TVF cutoff frequency values of the
Tones in the Patch.
ResonanceResonance Offset-63–+63Simultaneously lowers or raises the individual TVF Resonance values of the Tones
in the Patch.
1
2
3
OFF
2
1
OFF
3
Pitch difference from
equal temperament
Parameter value
Low note rangeHigh note range
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41
Chapter 1 Creating a Patch
Chapter 1
Attack
Attack Time Offset-63–+63Simultaneously lowers or raises the individual TVA ENVELOPE T1 values of the
Tones in the Patch.
ReleaseRelease Time Offset-63–+63Simultaneously lowers or raises the individual TVA ENVELOPE T4 values of the
Tones in the Patch.
Velocity Sens-63–+63Simultaneously lowers or raises the individual TVF VELOCITY V-Cutoff and TVA
V-Sens values of the Tones in the Patch.
TMT
With the XV-5050, you can set each Tone’s expression range, or “key range.” You can also change the way the Tone responds to the force, or “velocity,” with which
a key is pressed. These settings are collectively referred to as the
TMT (Tone Mix Table)
.
TMT Vel ControlTMT Velocity ControlOFF, ON, RNDDetermines whether Velocity messages from a MIDI keyboard or sequencer are
recognized (ON), or ignored (OFF). When set to RND, the Patch’s constituent
Tones sound randomly, regardless of any Velocity messages.
TMT V-Rng L.FadeTMT Velocity Fade
Width Lower
0–127Determines what happens to the Tone’s level when the Tone is played at a
velocity lower than its specified velocity range. Higher settings result in a
more gradual change in volume. If you don’t want notes played below the
specified velocity range to be heard at all, set this to 0.
T
TMT V-Rng LowerTMT Velocity Range
Lower
1–UPPERSets the lowest velocity at which the Tone sounds.T
TMT V-Rng UpperTMT Velocity Range
Upper
LOWER–127Sets the highest velocity at which the Tone sounds.
*It is not possible to set the Lower value higher than the Upper value, or the
Upper value below the Lower value.
T
TMT V-Rng U.FadeTMT Velocity Fade
Width Upper
0–127Determines what happens to the Tone’s level when the Tone is played at a
velocity greater than its specified velocity range. Higher settings result in a
more gradual change in volume. If you don’t want notes played above the
specified velocity range to be heard at all, set this to 0.
T
TMT K-Rng L.FadeTMT Key Fade Width
Lower
0–127Determines what happens to the Tone’s level when a note that’s lower than
the Tone’s specified keyboard range is played. Higher settings result in a
more gradual change in volume. If you don’t want the Tone to sound at all
when a note below the keyboard range is played, set this parameter to 0.
T
TMT K-Rng LowerTMT Key Range LowerC-1–UPPERSpecifies the lowest note that causes the Tone to sound.T
TMT K-Rng UpperTMT Key Range UpperLOWER–G9Specifies the highest note that causes the Tone to sound.
*The Lower value cannot be set to a value greater than Upper value, or vice versa.
T
TMT K-Rng U.FadeTMT Key Fade Width
Upper
0–127Determines what happens to the Tone’s level when a note that’s higher than
the Tone’s specified keyboard range is played. Higher settings result in a
more gradual change in volume. If you don’t want the Tone to sound at all
when a note above the keyboard range is played, set this parameter to 0.
T
Struct Type1&2, 3&4Structure Type 1&2,
3&4
1–10Determines how Tone 1 and 2, and Tone 3 and 4 are connected.
If you press [CURSOR ] while selecting the Structure, the display will
graphically show the selected Structure. (To return to the previous screen, press
[ CURSOR].)
The displayed symbols have the following meanings.
W:
WG,
F:
TVF,
A:
TVA,
B:
Booster,
R:
Ring Modulator
Parameter
ValueDescription
1
L.Fade value
U.Fade value
Level
Velocity
Upper
Lower
L.Fade value
U.Fade value
0
127
Level
Upper
Lower
Key number
TONE 1 (3)
TONE 2 (4)
TVATVF
WG
WG
TVFTVA
TYPE 1
TONE 1 (3)
TONE 2 (4)
TVA
TVF
WG
WG
TVFTVA
TYPE 2
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42
Chapter 1 Creating a Patch
*If Type 2–10 is selected, turning off one Tone will cause the other Tone to be con-
nected in the simple order of WG/TVF/TVA.
Booster1&2, 3&4Booster Gain 1&2, 3&40, +6, +12, +18 dBSets the Booster strength when Struct Type has been set to 3 or 4.
Parameter
ValueDescription
TONE 1 (3)
TONE 2 (4)
TVATVF
WG
WG
TVFTVA
B
TYPE 3
TONE 1 (3)
TONE 2 (4)
TVATVF
WG
WG
TVFTVA
B
TYPE 4
TONE 1 (3)
TONE 2 (4)
TVATVF
WG
WG
TVFTVA
R
TYPE 5
TONE 1 (3)
TONE 2 (4)
TVATVF
WG
WG
TVFTVA
R
TYPE 6
TONE 1 (3)
TONE 2 (4)
TVATVF
WG
WG
TVFTVA
R
TYPE 7
TONE 1 (3)
TONE 2 (4)
TVATVF
WG
WG
TVFTVA
R
TYPE 8
TONE 1 (3)
TONE 2 (4)
TVATVF
WG
WG
TVFTVA
R
TYPE 9
TONE 1 (3)
TONE 2 (4)
TVATVF
WG
WG
TVFTVA
R
TYPE 10
What is a Booster?
A Booster amplifies the incoming signal, causing it to distort. This creates
an effect similar to the distortion often used on an electric guitar.
What is a Ring Modulator?
A Ring Modulator mathematically multiplies two Tones, creating a new
sound that includes inharmonic overtones that were not present in either
of the two original Tones.
Since the difference in pitch between the two Tones changes the overtone
structure, an un-pitched “metallic” sound often results. Ring modulation
is therefore especially suitable for creating bells and other metallic sounds.
fig.1-08
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43
Chapter 1 Creating a Patch
Chapter 1
More Advanced Editing of Tones
You can edit the Tones in a Patch with a tremendous degree of detail.
Editable parameters are separated into parameter groups as follows.
EFFECTS
Adjusting Effect Settings (p. 70)
CONTROL
Using Controllers to Change How Sounds Are Played (p. 51)
WAVE
Selecting a Waveform (p. 44)
LFO
Applying Vibrato or Tremolo (p. 50)
PITCH
Changing Pitch (p. 45)
TVF
Changing the Brightness with a Filter (p. 46)
TVA
Changing the Volume (p. 48)
The following shows the basic procedure for setting parameter
values. For a description of each parameter, refer to the reference
page given in the above.
1.
Choose the Patch you wish to set up.
2.
Press [EDIT] to make its indicator light.
3.
Press [ CURSOR] a few times to move the cursor to the
parameter group in the upper line of the display.
4.
Turn [VALUE] to choose the parameter group containing the
parameter you wish to set up.
5.
Press [TONE] to make its indicator light.
6.
Press TONE SW [1]–[4] to choose the Tone you wish to set
up.
Its indicator lights, and the chosen Tone’s number appears in the
upper right of the display.
7.
Press [CURSOR ] to move the cursor to the parameter
name in the lower-left corner of the screen.
8.
Turn [VALUE] to choose the parameter you wish to set.
9.
Press [CURSOR ] to move the cursor to the selected
parameter’s value.
10.
Turn [VALUE] to choose the desired value.
11.
Repeat Steps 3-10 to finish setting up the Patch.
12.
Press [EXIT] to return to the PATCH PLAY screen.
A “*” symbol appears at the left of the Patch name, indicating
that its settings have been changed.
fig.1-05
If you turn off the power or choose another Patch while the “*”
symbol is displayed, your new Patch settings will be lost. If you
wish to preserve them, save the changed Patch using the Write
operation. (p. 104)
Tips for Choosing a Waveform
Because the XV-5050 is designed to create highly realistic sounds, the
success of the editing process depends to a large degree on the PCM
waveforms upon which Tones are based. Therefore, if you try to create a
sound that’s totally different from the waveform(s) you’re working with,
the desired result may be difficult or impossible to achieve.
The XV-5050’s internal waveforms fall into the following two groups.
One-shot:
These waveforms contain sounds that have short decays. A
one-shot waveform records the initial rise and fall of its sound. Some of
the XV-5050’s one-shot waveforms are sounds that are complete in
themselves, such as percussive instrument sounds. The XV-5050 also
contains many other one-shot waveforms that are elements of other
sounds. These include attack components such as piano-hammer sounds
and guitar fret noises.
Looped:
These waveforms include sounds with long decays as well as
sustained sounds. With looped waveforms, the latter part of the sound
plays over and over for as long as the note is held, allowing wave
memory to be used more efficiently. The XV-5050’s looped waveforms
also include components of other sounds, such as piano-string resonant
vibrations and the hollow overtones of brass instruments.
The following diagram shows an example of a sound—an electric
organ—that combines one-shot and looped waveforms.
fig.1-09.e
Notes for editing one-shot waveforms
You cannot give a one-shot waveform a longer decay—or make it into a
sustaining sound—by using an envelope. If you were to program such an
envelope, you would be attempting to shape a portion of the sound that
simply doesn’t exist, and the envelope would have no effect.
Notes for editing looped waveforms
With many acoustic instruments such as piano and sax, extreme timbral
changes occur during the first few moments of each note. This initial attack
is what defines much of the instrument’s character. The XV-5050 provides
a variety of waveforms containing realistic acoustic instrument attacks. To
obtain the maximum realism when using these waveforms, it’s best to
leave the filter wide-open during the attack so that all of these important
timbral changes are heard. If you use an envelope to modify the attack
portion, you may not achieve the result you want. Use enveloping to
produce the desired changes in the decay portion of the sound.
fig.1-10.e
If you try to make a waveform’s attack seem brighter by lowering the high-
frequency content of its decay using the TVF filter, consider the original
timbral character of the waveform. If you’re making a part of the sound
brighter than the original waveform, you should first generate new upper
harmonics not present in the original waveform by using the FXM Color
and FXM Depth parameters before filtering. This will help you achieve the
desired result. To make an entire waveform brighter, try applying an effect
such as an enhancer and equalizer before modifying the TVF parameter.
TVA ENV for looped Organ
waveform (sustain portion)
Key-off
Resulting TVA ENV change
TVA ENV for one-shot Key-
click waveform (attack portion)
Key-off
+=
Tone change stored
with the wave
Envelope
for the TVF filter
Resulting tone change
Looped Portion
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44
Chapter 1 Creating a Patch
Changing a Waveform (WAVE)
This set of parameters allows you to select the PCM waveform that serves as the basis for the currently selected Tone, apply effects to the
waveform, and control its pitch.
*1:
fig.notelist.e
Parameter
ValueDescription
WAVE
Group
Wave GroupINT, XP-A, XP-BChooses the desired waveform’s group.
INT:
Internal
XP-A, B:
Wave Expansion Boards A, B
*It’s not possible to select XP-A, B unless a wave expansion board is inserted
into the corresponding slot.
LWave Number Left0001–1083Chooses the desired waveform. You can choose a separate waveform for the
XV-5050’s left and right channels.
RWave Number Right
GainWave Gain-6, 0, +6, +12 dBSpecifies the gain (or amplitude) of the waveform. An increase of 6 dB doubles
the waveform’s gain. If you intend to use the Booster to distort the waveform’s
sound, set this parameter to its highest value.
SwitchTMT Tone SwitchOFF, ONDetermines whether or not the Tone will be heard in the Patch. In order to make
best use of the available number of simultaneous voices, unused Tones should
be turned off.
*When TONE SW [1]–[4] are turned on or off, this setting is automatically
changed.
Tempo SyncWave Tempo SyncOFF, ONDetermines whether the waveform is synchronized (ON) or not synchronized
(OFF) to the Patch’s tempo.
FXM
FXM (Frequency Cross Modulation) uses a specified waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This
can be useful when creating wilder sounds or sound effects.
FXM SwitchWave FXM SwitchOFF, ONSets whether FXM will be used (ON) or not (OFF).
FXM ColorWave FXM Color1–4Specifies how FXM will perform its frequency modulation. Higher settings re-
sult in a grainier sound, while lower settings result in a more metallic sound.
FXM DepthWave FXM Depth0–16Specifies the depth of the modulation produced by FXM.
Tone Delay
This produces a time delay between the moment a key is pressed (or released) and the moment the Tone actually begins to sound. Since you can adjust the timing of
each Tone in a Patch, you can create effects in which pressing a single key produces two or more sounds occurring at different times. If you don’t wish to use Tone
Delay, set Tone Dly to NORMAL and Tone Delay Time to 0.
Tone DlyTone Delay ModeNORMAL, HOLD,
KEY-OFF-NOR,
KEY-OFF-DCY
Sets the manner in which the Tone sounds.
*If you’ve selected a Wave that is a decay-type sound (i.e., a sound that fades
away naturally even if the key is not released), selecting KEY-OFF-NOR or
KEY-OFF-DCY may result in no sound being heard.
NORMAL:
The Tone sounds after the specified Delay Time.
HOLD:
The Tone will only sound if the key is held for longer than the specified
Delay Time. If the key is released before the Delay Time has elapsed, the Tone
will not sound.
KEY-OFF-NOR:
The Tone doesn’t sound while the key is
being pressed, but sounds after the specified Delay Time
when the key is released.
KEY-OFF-DCY:
The Tone doesn’t sound while the key is being pressed, but
sounds after the specified Delay Time when the key is released. However, for
this setting—unlike KEY-OFF-NOR—the TVA envelope of the Tone begins
when the key is first pressed. As a result, in most cases, only the decay portion
of the sound is heard.
Tone Delay Time0–127, note *1Specifies the time after which the Tone sounds when using Tone Delay. When
the Struct Type parameter has a setting of 2–10, the outputs of Tones 1 (3) and
2 (4) are combined with Tone 2 (4). Tone 1 (or 3) settings are ignored.
These settings allow you to set the currently selected Tone’s pitch.
Parameter
ValueDescription
PITCH
These parameters set the basic pitch of each Tone.
Coarse TuneTone Coarse
Tune
-48–+48Adjusts the pitch of the Tone in semitone steps over a range of +/-4 octaves.
Fine TuneTone Fine Tune-50–+50Adjusts the pitch of the Tone in 1-cent steps (1/100th of a semitone) over a range of half a semitone up or down.
Random PitchTone Random
Pitch Depth
0–1200Specifies the width of random pitch deviation that occurs each time a key is pressed. If you don’t want a ran-
dom pitch change, set this parameter to 0. The setting is adjustable in units of 1 cent (1/100th of a semitone).
KeyfollowWave Pitch
Keyfollow
-200–+200Sets the amount of pitch change that occurs per octave on the keyboard. If you want the pitch to change by one
octave for each 12 keys on the keyboard—as on traditional keyboard instruments—set this parameter to +100.
For a two-octave pitch change over the span of 12 keys, set this parameter to +200. Negative (-) values cause
the Tone’s pitch to go down as you go up the keyboard. If you want the same pitch to sound regardless of what
key is pressed, set this parameter to 0.
PITCH ENVELOPE
These parameters determine the amount of pitch enveloping—changes to your basic pitch settings that occur over time—the effect of velocity on the pitch envelope,
and the basic characteristics of the pitch envelope itself.
Envelope
Depth
Pitch Envelope
Depth
-12–+12Determines the amount of pitch enveloping to be used—higher settings result in more extreme enveloping.
Negative (-) settings invert the direction of the changes made by the Pitch Envelope.
Envelope V-
Sens
Pitch Envelope
Velocity Sensi-
tivity
-63–+63Adjust this parameter when you want your keyboard playing dynamics (velocity) to affect the amount of pitch
enveloping. With higher settings, there is a greater difference in the amount of enveloping when notes are
played softly or when they’re played hard. Negative (-) settings reverse the direction of change.
Env Time KeyflPitch Envelope
Time Keyfol-
low
-100–+100Use this parameter when you want the keyboard location of notes to affect times T2–T4 of the pitch envelope.
Higher values for this parameter cause more extreme changes to the T2–T4 settings as you play further away
from Middle C (C4)—at Middle C itself, your original T2–T4 settings are in effect. Positive (+) settings cause
the times to be shortened for notes above Middle C. Negative (-) settings cause the times to be lengthened for
notes above Middle C.
C4C3C2C1C5C6C7
0
+50
+100
+200
-50
-100-200
Key
Pitch
T1T2T3T4
L3
L4
L2
L1
L0
Pitch
key is
pressed
key is
released
Time
C4C3C2C1C5C6C7
0
+50
+100
-50
-100
Key
Time
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46
Chapter 1 Creating a Patch
Changing the Brightness with a Filter (TVF)
The settings for the TVF (Time Variant Filter) allow you to change a Tone’s timbral content by altering its brightness or thickness.
Envelope V-T1
Pitch Envelope
Time 1 Velocity
Sensitivity
-63–+63Use this parameter when you want keyboard playing dynamics to affect T1 (Time 1) of the pitch envelope. If
you want T1 to be sped up for strongly played notes, set this parameter to a positive (+) value. If you want it
to be slowed down, set this to a negative (-) value.
Envelope V-T4Pitch Envelope
Time 4 Velocity
Sensitivity
-63–+63Use this parameter when you want key release speed to affect T4 (Time 4) of the pitch envelope. If you want
T4 to be sped up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed
down, set this to a negative (-) value.
Envelope L0–
L4
Pitch Envelope
Level 0–4
-63–+63Specify the pitch envelope levels. They determine how much the pitch changes from the reference pitch (the
value set with Coarse Tune and Fine Tune) at each point. Positive (+) settings cause the pitch to be higher than
the standard pitch, and negative (-) settings cause it to be lower.
Envelope T1–
T4
Pitch Envelope
Time 1–4
0–127Specify the pitch envelope times. Higher settings lengthen the time until the next pitch is reached. (For exam-
ple, T2 is the time over which the pitch changes from L1 to L2.)
Parameter
ValueDescription
TVF
Filter Type
OFF, LPF, BPF, HPF,
PKG, LPF2, LPF3
Selects a filter type. A filter typically reduces, or attenuates, a specific frequency range with-
in a Tone in order to accentuate its other frequencies.
OFF:
No filter is used.
LPF:
A Low Pass Filter reduces the volume of frequencies above the cutoff frequency in
order to un-brighten the sound. This is the most common filter used in synthesizers.
BPF:
A Band Pass Filter reduces the volume of frequencies below and above the cutoff
frequency range. This is most effective when creating sounds with a strong character
since it can accentuate a desired range of frequencies anywhere in the sound.
HPF:
A High Pass Filter reduces the volume of the frequencies below the cutoff frequen-
cy. This is suitable for creating percussive sounds by rolling of their lower frequencies,
thus emphasizing their higher ones.
PKG:
A Peaking Filter emphasizes frequencies around the cutoff frequency by raising
their level. You can use this to create wah-wah effects by employing an LFO to change the
cutoff frequency cyclically.
LPF2:
Low Pass Filter 2. This reduces the volume of all frequencies above the cutoff fre-
quency. This differs from LPF in that you can control the amount of the reduction using
the TVF ENVELOPE settings while still maintaining a fixed cutoff frequency. This can be
very effective with acoustic-instrument-based Tones, since nothing is done to weaken the
power and energy of the sound.
*This disables the Resonance setting.
LPF3:
Low Pass Filter 3 reduces the volume of frequencies above the cutoff frequency.
While similar to LPF2, it reduces the frequencies more gently than LPF2. This can also be
effective with acoustic-instrument-based Tones.
*This disables the Resonance setting.
Cutoff Frequency0–127Adjusts the frequency at which the filter begins to have an effect on the waveform’s frequen-
cy components. With LPF/LPF2/LPF3 selected for the Filter Type parameter, lower cutoff
frequency settings reduce a Tone’s upper harmonics for a more rounded, warmer sound.
Higher settings make it sound brighter. When Filter Type is BPF, the cutoff frequency setting
determines the range of frequencies within the Tone that will be heard. This can be useful
when creating sounds that need to stand out. When Filter Type is HPF, higher settings of the
cutoff frequency decrease the level of the Tone’s low frequencies, preserving its brighter
qualities. When Filter Type is PKG, the cutoff frequency setting determines the range of fre-
quencies to be emphasized.
Resonance0–127Increases the level of the cutoff frequency itself to add a popular classic synth character to
the sound. Excessively high settings can produce oscillation, causing the sound to distort.
Parameter
ValueDescription
LPFBPFHPFPKG
parameter value
Level
Cutoff frequency
Frequency
High
Low
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47
Chapter 1 Creating a Patch
Chapter 1
Cutof Keyfollow
Cutoff Keyfol-
low
-200–+200Use this parameter if you want the cutoff frequency to change according to the key that’s
pressed. At Middle C (C4), the original Cutoff value is used. Positive (+) settings cause the
cutoff frequency to rise for notes higher than Middle C, and negative (-) settings cause the
cutoff frequency to fall for notes higher than Middle C. Higher settings produce greater
amounts of change to the original Cutoff setting.
TVF VELOCITY
This sets the amount of change to the original cutoff frequency produced in response to differences in velocity, as well as the velocity response curve and velocity’s
effect on Resonance.
Cutoff V-SensCutoff Frequen-
cy Velocity Sen-
sitivity
-63–+63Sets the amount of change to the Cutoff setting to be applied as a result of changes in playing
velocity. With higher settings, there is a greater amount of change between softly and
strongly played notes. Negative (-) settings reverse the direction of change.
Cutoff V-CurveCutoff Frequen-
cy Velocity
Curve
FIXED, 1–7Chooses one of seven curves that determine how keyboard playing dynamics (velocity) in-
fluence the Tone’s cutoff frequency. When V-Curve is set to “FIXED,” the cutoff frequency
remains unchanged regardless of how hard or soft the keys are played.
Resonance V-SensTVF resonance
velocity sensitiv-
ity
-63– +63Use this parameter when you want velocity to affect the amount of Resonance. With higher
settings, there is a greater difference in the amount of Resonance between softly and strongly
played notes. Negative (-) values reverse the direction of the change.
TVF ENVELOPE
Envelope DepthTVF envelope
depth
-63– +63This adjusts the amount of filter enveloping. Higher settings produce more change. Nega-
tive (-) values invert the effect of the TVF envelope.
Envelope V-SensTVF envelope
velocity sensitiv-
ity
-63– +63Use this parameter when you want keyboard playing dynamics (velocity) to affect the depth
of the TVF Envelope. With higher settings, there is a greater difference in the TVF envelope
depth when you play softly or hard. Negative (-) settings reverse the direction of change.
Envelope V-CrvTVF envelope
velocity curve
FIXED, 1–7This selects one of seven velocity curves that determine how velocity will affect the depth of
the TVF Envelope. When set to “FIXED,” the TVF envelope depth remains unchanged, re-
gardless of how hard or soft you play.
Env Time KeyflTVF Envelope
Time Keyfollow
-100–+100Use this parameter when you want a note’s keyboard position to affect times T2–T4 of the
TVF envelope. Higher settings change the times by a greater amount as you move away
from Middle C (C4) - at Middle C, the original T1-T4 settings are in effect. Positive (+) set-
tings cause the times to shorten as you play above Middle C. Negative (-) settings cause the
times to lengthen as you play above Middle C.
Envelope V-T1TVF Envelope
Time 1 Velocity
Sensitivity
-63–+63Use this parameter when you want keyboard playing dynamics to affect T1 (Time 1) of the
TVF envelope. If you want T1 to be sped up for strongly played notes, set this parameter to
a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.
Envelope V-T4TVF Envelope
Time 4 Velocity
Sensitivity
-63–+63Use this parameter when you want key release speed to affect T4 (Time 4) of the TVF enve-
lope. If you want T4 to be sped up for quickly released notes, set this parameter to a positive
(+) value. If you want it to be slowed down, set this to a negative (-) value.
Envelope L0–L4TVF Envelope
Level 0–4
0–127Specify the TVF envelope levels. These settings specify how the cutoff frequency changes at
each point, relative to the standard cutoff frequency.
Envelope T1–T4TVF Envelope
Time 1–4
0–127Specify the TVF envelope times. Higher settings lengthen the time until the next cutoff fre-
quency level is reached. (For example, T2 is the time over which L1 changes to L2.)
Parameter
ValueDescription
C4C3C2C1C5C6C7
0
+50
+100
+200
-50
-100-200
o
-1
-2
+1
+2
Cutoff frequency
(Octave)
Key
1234567
T1T2T3T4
L3
L1
L2
L4
L0
Cutoff
Frequency
Time
key is
pressed
key is
released
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Chapter 1 Creating a Patch
Changing the Volume (TVA)
The TVA (Time Variant Amplifier) controls volume changes to the Tone, as well as its stereo positioning.
Parameter
ValueDescription
TVA
Level
Tone Level0–127Sets the Tone’s basic volume. This setting is useful primarily for adjusting the vol-
ume balance between Tones in a Patch.
*The overall volume of the Patch is set by the Patch Level (COMMON group p. 40)
setting, raising or lowering the Tone level settings of its individual Tones by the
selected amount.
PanTone PanL64–63RSpecifies the stereo position of the Tone. L64 places the Tone hard left, 0 puts it
dead-center and 63R pans it hard right.
*The overall panning of the entire Patch is set by the Patch Pan parameter (COM-
MON group p. 40), shifting the Tone Pan values of its individual Tones leftward
or rightward by the selected amount.
Velocity SensTVA Level Velocity Sensitiv-
ity
-63–+63Use this setting when you want keyboard touch (velocity) to affect the Tone volume.
Set this to a positive value to have the changes in tone volume increase the more
forcefully the keys are played; to make the Tone play more softly as you play harder,
set this to a negative value.
Velocity CurveTVA Level Velocity CurveFIXED, 1–7Chooses one of seven curves that determine how keyboard playing dynamics (ve-
locity) influence the Tone’s volume. When set to “FIXED,” the Tone’s volume not
affected by the force with which the keyboard is played.
BIAS
Use the Bias parameter when you want the position of notes on a keyboard to affect the TVA level.
BIas Level-100–+100Adjusts the slope of the volume change that occurs in the selected Bias Direction.
Higher settings produce greater amounts of change to the Tone’s volume. Negative
(-) settings reverse the direction of the change.
Bias PointC-1–G9Chooses the MIDI key at which the Tone’s volume begins to change.
Bias DirectionLOWER, UP-
PER, LO&UP,
ALL
Determines whether the volume of notes above or below the Bias point—or both—
changes according to their distance from the Bias Point.
LOWER:
Notes below the Bias Point are affected.
UPPER:
Notes above the Bias Point are affected.
LO&UP:
Notes below and above the Bias Point are affected.
ALL:
The volume of notes across the entire keyboard are biased according to the
Bias Level slope, based on their distance from the Bias Point.
PAN MODULATE
Use these parameters to dynamically alter the Tone’s stereo position as set by the TVA Pan.
Pan KeyfollowTone Pan Keyfollow-100–+100Use this parameter when you want each note’s keyboard position to affect its stereo
location. Higher settings cause a greater shifting of the Tone’s original pan position
as you move further away from Middle C (C4), where the original stereo TVA Pan
value remains in effect. Positive (+) settings cause notes above Middle C to be
panned rightward. Negative (-) settings cause them to be panned leftward.
Pan Random DepthTone Random Pan Depth0–63Use this parameter to activate random panning, note-by-note. Higher values result
in more extreme fluctuations in the Tone’s stereo placement.
1234567
C-1G9
+
0
—
C-1G9
+
0
—
C-1G9
+
0
—
C-1G9
+
0
—
+
0
—
+
0
—
LOWER&UPPER
LOWERUPPER
ALL
Bias Point
Level
Level
Level
Level
Key
Key
Key
Key
Bias Point
Bias Point
Bias Point
C4C3C2C1C5C6C7
0
+50
+100
-50
-100
o
L
R
Pan
Key
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Chapter 1 Creating a Patch
Chapter 1
Pan Alternate
Tone Alternate Pan DepthL63–63RThis setting causes panning to be alternated between left and right each time a key
is pressed. Higher values result in a greater left/right width. You can select the ste-
reo placement of the first key using this parameter—its opposite is used for the sec-
ond note, and so on back and forth. If you want to alternate the pan position of two
Tones, set them to the exact opposite L and R settings.
TVA ENVELOPE
This specifies the manner in which keyboard velocity affects the times of the TVA envelope.
Envelope V-T1TVA Envelope Time 1 Veloc-
ity Sensitivity
-63–+63Use this parameter when you want keyboard playing dynamics to affect T1 (Time
1) of the TVA envelope. If you want T1 to be sped up for strongly played notes, set
this parameter to a positive (+) value. If you want it to be slowed down, set this to a
negative (-) value.
Envelope V-T4TVA Envelope Time 4 Veloc-
ity Sensitivity
-63–+63Use this parameter when you want key release speed to affect T4 (Time 4) of the
TVA envelope. If you want T4 to be sped up for quickly released notes, set this pa-
rameter to a positive (+) value. If you want it to be slowed down, set this to a nega-
tive (-) value.
Env Time KeyflTVA Envelope Time Keyfol-
low
-100–+100Use this parameter when you want a note’s keyboard position to affect times T2–T4
of the TVA envelope. Higher settings change the times by a greater amount as you
move away from Middle C (C4)—at Middle C, the original T1–T4 settings are in ef-
fect. Positive (+) settings cause the times to shorten as you play above Middle C.
Negative (-) settings cause the times to lengthen as you play above Middle C.
Envelope T1–T4TVA Envelope Time 1–40–127Specify the TVA envelope times. Higher settings lengthen the time until the next
volume level is reached. (For example, T2 is the time over which L1 changes to L2.)
Envelope L1–L3TVA Envelope Level 1–30–127Specify the TVA envelope levels. These settings specify how the volume changes at
each point, relative to the standard volume.
Parameter
ValueDescription
T1T2T3T4
L3
L1
L2
Level
key is pressed
key is released
Time
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Chapter 1 Creating a Patch
Applying Vibrato or Tremolo (LFO)
The LFO (Low Frequency Oscillator) can alter various Tone settings in a back-and-forth, cyclic manner. Each Tone has two LFOs, and each can
apply the desired amount of repetitive change to the Tone’s Pitch, TVF cutoff frequency, TVA Level and TVA Pan settings. This can be used as the
Matrix Control source (p. 52).
How to Use the LFO
Applying an LFO to the Tone’s Pitch settings creates vibrato, applying it to its TVF cutoff frequency creates a wah-wah, and applying it to its TVA
Level creates tremolo. When an LFO is applied to the Tone’s TVA Pan, the sound moves back and forth, from one side to another, in the stereo field.
Depending on your settings, an LFO can also be used to cyclically exchange two Tones. For example, if you wish to shift back and forth between Tones 1
and 2, select the same LFO settings for both, but set their LFO TVA Depth settings to opposite polarities—set one to a + value, and the other to a - value.
*1:
fig.notelist.e
Parameter
ValueDescription
LFO
Since both LFOs have the same parameters, the following explanations apply to both.
Using Controllers to Change How Sounds Are Played (CONTROL)
The parameters in this group determine how various controllers affect the Patch and its Tones.
*Parameters that can be set independently for each Tone are indicated by “T.”
Parameter
ValueDescription
CONTROL
Key Mode AsignMONO, POLYSets how the Patch’s notes are played. The MONO setting is effective
when playing a solo instrument Patch such as sax or flute.
MONO:
Only one note sounds at a time.
*While only a single note sounds, that note may, as usual, consist of mul-
tiple Tones.
POLY:
Two or more notes can be played simultaneously.
Key Mode LegatoOFF, ONTurn this parameter on when you want to use the Legato feature and off
when you don’t. Legato is a function that works only when the Key Assign
Mode is MONO. When Legato is ON, pressing one key when another is
already pressed causes the currently playing note’s pitch to change to that
of the newly pressed key while continuing to sound. This can be effective
when you wish to simulate performance techniques such as a guitarist’s
hammering on and pulling off strings.
Key Mode RetrigOFF, ONThe setting determines whether sounds are replayed or not when per-
forming legato. Normally you will leave this parameter “ON.” When De-
lay Keyfollow is set to OFF, if one key is pressed while another key is held
down, only the pitch changes, which with some waveforms may result in
an unnatural sound. Set this to “OFF” when performing wind and string
phrases or when using modulation with the mono synth keyboard sound.
*If the Legato Switch is “OFF,” this setting is ignored.
PORTAMENTO
Portamento is a function that causes the Patch’s pitch to change smoothly from one note to the next note played. When the Key Mode Asign is MONO, this can be
effective in simulating performance techniques such as a violinist’s glissando.
Portamento SwOFF, ONTurn this switch on when you wish to use Portamento.
Portamento Time0–127Sets the time over which one pitch glides to the next.
Portamento ModeNORMAL, LEGATOChooses the way in which Portamento is applied.
NORMAL:
Portamento is always applied.
LEGATO:
Portamento is applied only for notes played legato (i.e.,
when you press a second key before releasing the first.)
Portamento TypeRATE, TIMEDetermines the way in which the pitch difference between the two notes
affects the time it takes to glide from one note to the next.
RATE:
The time it takes depends on the distance between the two
pitches.
TIME:
The time it takes is constant, regardless of how far apart in pitch
the notes are.
Portamento StartPITCH, NOTEPortamento begins anew if you press another key during a pitch move-
ment. This setting specifies how the new portamento starts.
PITCH:
The pitch begins changing immediately to the new
note’s pitch when its key is pressed.
NOTE:
The pitch begins changing to the new note’s pitch only after it has
first reached its original pitch destination.
CTRL Rx MIDI (Tone control receive MIDI)
These settings determine each Tone’s response to received Pitch Bend, Expression, Pan, Hold1, Damper, and Envelope
Mode MIDI messages.
Rx MIDI BenderTone Receive Bender SwitchOFF, ONIf you want the Tone to respond to Pitch Bend messages, turn this
parameter on. If not, turn it off.
T
Rx MIDI ExpressTone Receive Expression
Switch
OFF, ONIf you want the Tone to respond to Expression messages, turn this
on. If not, turn it off.
T
Rx MIDI PanTone Receive Pan ModeCONT, KEY-ON
CONTINUOUS:
Pan messages are responded to immediately, in-
stantly changing the stereo position of the Tone.
KEY-ON:
The stereo location of the Tone is changed only when the
next note is played. If a Pan message is received while a note is
sounding, its stereo location will not change.
T
Rx MIDI Hold-1Tone Receive Hold 1 SwitchOFF, ONSet this to ON if you wish the tone to respond to Hold1 messages—
these messages cause sounds to continue playing when a sustain/
damper pedal is pressed. Set this to OFF when you don’t want the
Tone to respond to Hold1 messages.
T
C5
D4
C4
press D4 key
Pitch
Time
press C4 key
press C5 key
C5
D4
C4
press D4 key
Pitch
Time
press C4 key
press C5 key
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Chapter 1 Creating a Patch
Rx MIDI Redamper
Tone Redamper SwitchOFF, ONIf a Hold 1 message is received during the time between a note-off—
when you release the key—and the time at which the note actually
disappears, any currently sounding notes will be sustained if Re-
damper is set to ON. To take advantage of this feature, you must also
turn on the Tone Receive Hold 1 setting.
T
Env ModeTone Envelope ModeNO-SUS, SUSTAINWhen a loop-type waveform is selected, it normally continues to
sound as long as a key is pressed. If you want a note to decay natu-
rally even when the key remains pressed, set this to “NO-SUS.”
*If a one-shot type Wave is selected, it will not sustain even if this
parameter is set to “SUSTAIN.”
T
TMT CONTROL
TMT Control SW
OFF, ONThis setting determines whether or not the TMT is controlled by the Ma-
trix Control. When TMT Velocity Control is set to OFF, turning this pa-
rameter on and off is a simple way to switch between playing all Tones or
controlling them with the Matrix Control, making this an effective tool for
auditioning Tones.
Bend Range DownPitch Bend Range Down-48–0Specifies the amount of pitch change that’s applied to the Patch’s pitch
when the Pitch Bend lever is moved fully left (or down on some MIDI con-
trollers).
Bend Range UpPitch Bend Range Up0–48Specifies the pitch change that occurs when the Pitch Bend lever is moved
fully to the right (or up on some MIDI controllers).
MATRIX CTRL
This selects the parameters to be controlled by Matrix Control Source 1–4 and the Sens settings, as well as the specific Tones whose parameters you wish to control. Up
to four destination parameters can be selected for each controller and controlled simultaneously.
Ctrl 1–4 SrcMatrix Control 1–4 SourceOFF, CC01–31, CC33–95,
BEND, AFTER, SYS1–4, VE-
LOCITY, KEYFOLLOW,
TEMPO, LFO1, LFO2, PIT-
ENV, TVF-ENV, TVA-ENV
Assign one of the following controllers to Control Source 1–4. If you wish
to use a controller that will apply to all Patches, or a controller that cannot
be directly selected here, select SYS-CTRL1–4, and then select the control-
ler using the Control Source 1–4 parameters (SYSTEM: CONTROL).
Ctl1–4 Dest1–4Matrix Control 1–4 Destina-
tion 1–4
OFF, PCH, CUT, RES, LEV,
PAN, DRY, CHO, REV,
PIT-LFO1(2), TVF-LFO1(2),
TVA-LFO1(2), PAN-LFO1(2),
LFO1(2)-RATE, PIT-ATK,
PIT-DCY, PIT-REL,
TVF-ATK, TVF-DCY,
TVF-REL, TVA-ATK,
TVA-DCY, TVA-REL, TMT,
FXM, MFX-CTRL1–4
Selects a parameter to be controlled.
Ctl1–4 Sens1–4Matrix Control 1–4 Sens 1–4-63–+63Adjusts the amount of change that occurs in response to controller chang-
es. Negative (-) values invert the change. For LFO rates, negative (-) values
slow down the LFO, and positive (+) values speed it up.
Ctl1–4 Switch1–4Matrix Control 1–4 Tone Con-
trol Switch 1–4
OFF, ON, REVERSESelects the Tone to which the two previous parameter settings are
applied. “ON” turns signifies that the Tone is selected for control,
“OFF” that it’s not selected, and “REVERSE” that the change being
applied is inverted when applied to this Tone.
T
Parameter
ValueDescription
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53
Chapter 1 Creating a Patch
Chapter 1
Adjusting Effect Settings
Refer to “Patch/Rhythm Set Mode Settings” (p. 70).
Saving Patches You Create
Refer to “Saving a Patch” (p. 104).
Copying Settings Between
Patches (Patch Tone Copy)
Tone settings from a Patch can be copied to the currently selected
Patch. You can use this feature to make the Patch-editing process
faster and easier.
1.
Make sure that a Patch is selected.
2.
Press [UTILITY] to make its indicator light.
3.
Press [ CURSOR] a few times to move the cursor to the
upper left of the display.
4.
Turn [VALUE] to choose “COPY TONE.”
5.
Press [CURSOR ] twice to move the cursor to the lower
right of the display.
6.
Turn [VALUE] to choose the Patch containing the settings
you wish to copy.
“TEMP” means the currently selected Patch.
7.
Use [ CURSOR]/[CURSOR ] and [VALUE] to choose
the Tone containing the settings you wish to copy (From),
and the Tone to which you want to copy the settings (To).
8.
Press [ENTER] to execute the Copy.
*To cancel, press [EXIT].
9.
Press [EXIT] to return to the PATCH PLAY screen.
A “*” symbol appears at the left of the Patch name, indicating
that the Copy has been executed.
Patch Name Copy
You can copy the name of a Patch to the currently selected
Patch.
1.Select the Patch whose name you wish to change.
2.Press [UTILITY] to make its indicator light.
3.Press [ CURSOR] a few times to move the cursor to
the upper left of the display.
4.Turn [VALUE] to choose “COPY NAME.”
5.Press [CURSOR ] to move the cursor to the lower
right of the display.
6.Turn [VALUE] to choose the Patch whose name you
wish to copy.
7.Press [ENTER] to execute the Copy.
*To cancel, press [EXIT].
8.Press [EXIT] to return to the PATCH PLAY screen.
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54
Chapter 2. Creating a Rhythm Set
How Percussion Instruments
Are Organized
A Rhythm Set is a collection of Rhythm Tones, each of which
represents a percussion instrument played on a single key. An
instrument consists of the following four elements.
fig.2-01.e
WG (Wave Generator)
This specifies the PCM waveform (or “wave”) that forms the basis of
the Rhythm Tone - four waveforms can be assigned to each Rhythm
Tone. You can also determine how the pitch of the Rhythm Tone will
change.
The XV-5050 has 1083 different waveforms. (See Waveform List p.
168.)
All Rhythm Sets built into the XV-5050 consist of Rhythm Tones
based on these waveforms.
TVF (Time Variant Filter)
This sets how the frequency characteristics of the Rhythm Tone will
change.
TVA (Time Variant Amplifier)
This sets how the Rhythm Tone’s volume and stereo positioning will
change.
Envelope
An envelope applies changes to the Rhythm Tone over time. There
are separate envelopes for pitch, TVF (filter) and TVA (volume). For
example, you would use the TVA Envelope to modify the way in
which the Rhythm Tone attacks and decays.
Using MIDI Keyboard to Select
a Percussion Instrument for
Editing
You can set whether you’ll be able to select percussion instruments
for editing only by operating the XV-5050’s front-panel controls or
also by pressing keys on a connected MIDI keyboard.
1.
Press [SYSTEM] to make its indicator light.
2.
Press [ CURSOR] a few times to move the cursor to the
parameter group in the upper line of the display.
fig.2-02.e
3.
Turn [VALUE] to choose "GENERAL."
4.
Press [CURSOR ] to move the cursor to the parameter at
the lower left of the display.
5.
Turn [VALUE] to choose "Rhy EditKey."
6.
Press [CURSOR ] to move the cursor to the value.
7.
Turn [VALUE] to select the desired setting.
PANEL:
Percussion instrument sounds can be selected only by
using the XV-5050’s TONE SW [1]–[4].
PANEL&MIDI:
Percussion instrument sounds can be selected
using the XV-5050’s TONE SW [1]–[4] or by pressing a key on a
connected MIDI keyboard.
8.
Press [EXIT] to return to the previous screen.
For example, if you wish to use the MIDI keyboard to preview
the percussion sound, choose "PANEL."
Note Number 98 (D7)
Note Number 97 (C#7)
Note Number 36 (C2)
Note Number 35 (B1)
Rhythm Tone (Percussion instrument sound)
Rhythm Set
WG
Pitch
Envelope
TVF
TVF
Envelope
TVA
Envelope
TVA
ValueParameter
Parameter Group
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55
Chapter 2. Creating a Rhythm Set
Chapter 2
Settings Common to an Entire Rhythm Set
Setting Procedure:
1.
Hold down [SHIFT] and press [PATCH] to make its indicator blink.
The XV-5050 enters Rhythm Set mode.
2.
Choose the Rhythm Set you wish to use.
3.
Press [EDIT] to make its indicator light.
4.
Press [ CURSOR] a few times to move the cursor to the parameter group at the upper line of the display.
fig.2-03.e
5.
Turn [VALUE] to choose "COMMON."
6.
Press [CURSOR ] to move the cursor to the parameter.
7.
Turn [VALUE] to choose the parameter you want to set.
8.
Press [CURSOR ] to move the cursor to the value.
9.
Turn [VALUE] to choose the desired value.
10.
Press [EXIT] to return to the RHYTHM PLAY screen.
A “*” symbol appears at the left of the Rhythm Set name, indicating that its settings have been changed.
fig.2-04
If you turn off the power or choose another Rhythm Set while the "*" symbol is displayed, your new Rhythm Set settings will be lost. If you
wish to preserve them, save the changed Rhythm Set using the Write operation. (p. 104)
The selected key appears in the upper left of the display.
fig.2-05
6.
Press [CURSOR ] to move the cursor to the parameter
name.
7.
Turn [VALUE] to choose the parameter you wish to set.
8.
Press [CURSOR ] to move the cursor to the selected
parameter’s value.
9.
Turn [VALUE] to choose the desired value.
10.
Repeat Steps 3–10 to finish setting up the Rhythm Set.
11.
Press [EXIT] to return to the RHYTHM PLAY screen.
A "*" symbol appears at the left of the Rhythm Set name,
indicating that its settings have been changed.
fig.2-04
If you turn off the power or choose another Rhythm Set while
the "*" symbol is displayed, your new Rhythm Set settings will
be lost. If you wish to preserve them, save the changed Rhythm
Set using the Write operation. (p. 104)
Tips for Choosing Rhythm Tone
Waveforms
Refer to p. 43.
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Chapter 2. Creating a Rhythm Set
Chapter 2
Modifying a Rhythm Tone’s Waveform and Panning (WAVE)
Selecting a Waveform for Editing
Some parameters can be set independently for each Waveform in a Rhythm Tone.
fig.1-05a
1.
Choose the Rhythm Tone you wish to set up.
2.
Press [TONE] to make its indicator light.
3.
Press TONE SW [1]–[4] to choose the waveform you want to set up.
[TONE]’s indicator lights, and the Waveform number appears in the upper right of the display.
fig.2-05a
*Parameters that can be set independently for each Waveform are indicated by "W."
Parameter
ValueDescription
WAVE
KeyName
Key namespace, A–Z, a–z, 0–9, ! " # $ %
& ’ ( ) * + , - . / : ; < = > ? @ [
¥ ] ^ _ ` { | }
You can name a percussion sound (key) using up to 12 alphanumeric characters. Use
[CURSOR]/[CURSOR] to move the cursor, and then turn the [VALUE] knob to se-
lect the desired character.
WMT
With the XV-5050, up to four stereo Waves can be assigned to a single Rhythm Tone. You can select the way tones sound accordingto the force with which the keys
are played, thus allowing you to create Rhythm Tones featuring great expressive power. This function is called
WMT (Wave Mix Table)
.
WMT GroupWave groupINT, XP-A, XP-BThis selects the desired waveform’s group.
INT:
Internal
XP-A, B:
Wave Expansion Board A, B
*It is not possible to select a Group of a Wave Expansion Board that is not installed.
W
LWave number left0001–1083This selects the desired waveform by its number. You can choose a separate waveform
for each of the XV-5050’s left and right channels. The selected wave’s name will appear
to the right of the wave number parameter.
W
RWave number
right
WMT GainWave gain-6, 0, +6, +12 dBThis specifies the gain (or amplitude) of the waveform. The value changes in 6 dB
(decibel) steps—an increase of 6 dB doubles the waveform’s gain. If you intend to use
the Booster to distort the waveform’s sound, set this parameter to its maximum value.
W
WMT SwitchWave switchOFF, ONThis specifies whether the Rhythm Tone will sound (ON) or not (OFF). In order to
make best use of the available number of simultaneous voices, unused Rhythm Tones
should be turned off.
W
WMT Tem-
po Sync
Wave tempo syncOFF, ONThis determines whether the waveform is synchronized (ON) or not synchronized
(OFF) to the Rhythm Set’s tempo.
W
WMT LevelWave level0–127This adjusts the volume of each of the Rhythm Tone’s waveforms to establish the de-
sired volume balance between the waves.
*The overall volume of each waveform is determined by the Tone Level setting (TVA
p. 61) combined with the WMT Wave Tone Level setting.
W
WMT PanWave panL64–63RThis establishes the stereo location of the waveform. L64 places it hard left, 0 outs it
dead-center and 63R pans it hard right.
*The overall panning of the entire Rhythm Tone is set by the Tone Pan parameter
(TVA p. 61), offsetting the WMT Wave Pan value.
W
WMT Ran-
dom Pan
Wave random pan
switch
OFF, ONUse this setting to cause the waveform’s panning to change randomly each time a key
is pressed (ON) or not (OFF). The range of the panning change is set by the Tone
Rhythm Pan Depth setting (TVA p. 61).
W
WMT Alter-
natePan
Wave alternate
pan switch
OFF, ON, REVSet this to ON to pan the Wave according to the Alternate pan depth (TVA p. 61) set-
tings, or to REVERSE when you want the panning reversed. If you do not want the
panning to change each time a key is pressed, set this to OFF.
W
WMT
Coarse Tune
Wave coarse tune-48– +48This adjusts the pitch of Rhythm Tone in semitone steps (-4– +4 octaves).W
WMT Fine
Tune
Wave fine tune-50– +50This adjusts the pitch of the Rhythm Tone in 1-cent steps (1/100th of a semitone) over
a range of half a semitone up or down.
W
32
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Chapter 2. Creating a Rhythm Set
FXM
FXM (Frequency cross modulation) uses a specified waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This
can be useful when creating wilder sounds or sound effects.
WMT FXM
Switch
Wave FXM switchOFF, ONThis sets whether FXM will be used (ON) or not (OFF).W
WMT FXM
Color
Wave FXM color1–4This specifies how FXM will perform its frequency modulation. Higher settings result
in a grainier sound, while lower settings result in a more metallic sound.
W
WMT FXM
Depth
Wave FXM depth0–16This specifies the depth of the modulation produced by FXM.W
WMT V-Rng
L.Fade
WMT velocity
fade width lower
0–127This determines what will happen to the waveform’s level when it is played at a veloc-
ity lower than its specified velocity range. Higher settings produce a more gradual
change in volume. If you don’t want notes played outside the specified velocity range
to be heard at all, set this to 0.
W
WMT V-Rng
Lower
WMT velocity
range lower
1–UPPERThis sets the lowest velocity at which the waveform will sound. This feature is useful
when you want different waveforms to be heard depending on how hard you play the
Rhythm Set.
W
WMT V-Rng
Upper
WMT velocity
range upper
LOWER–127This sets the highest velocity at which the waveform will sound. This feature is useful
when you want different waveforms to be heard depending on how hard you play the
Rhythm Set.
*It is not possible to set the Lower value higher than the Upper value, or the Upper
value below the Lower value.
W
WMT V-Rng
U.Fade
WMT velocity
fade width upper
0–127This determines what will happen to the waveform’s level when it is played at a veloc-
ity upper than its specified velocity range. Higher settings produce a more gradual
change in volume. If you don’t want notes played outside the specified velocity range
to be heard at all, set this to 0.
W
WMT Vel
Control
WMT velocity
control
OFF, ON, RNDThis determines whether Velocity range settings will be recognized (ON), or ignored (OFF).
When set to RND, the Rhythm Set’s constituent Waves will sound randomly, regardless of
any Velocity messages.
Parameter
ValueDescription
1
L.Fade value
U.Fade value
Level
Velocity
Upper
Lower
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Chapter 2. Creating a Rhythm Set
Chapter 2
Modifying a Rhythm Tone’s Pitch (PITCH)
Modifying the Brightness of a Sound with a Filter (TVF)
The settings for the TVF (Time Variant Filter) allow you to change a Rhythm Tone’s timbral content by altering its brightness or thickness.
Parameter
ValueDescription
PITCH
Coarse Tune
Rhythm tone
coarse tune
C-1–G9This selects the basic pitch at which the Rhythm Tone will play.
Fine TuneRhythm tone fine
tune
-50– +50This adjusts the pitch of the percussion instrument sound in 1-cent steps (1/100th of a semitone) over a range
of half a semitone up or down.
Random
Pitch
Random pitch
depth
0–1200This specifies the width of random pitch deviation that will occur each time a key is pressed. If you don’t want
random pitch changes, set it to 0. The parameter can be adjusted in units of 1 cent (1/100th of a semitone).
PITCH ENVELOPE
These parameters determine the amount of pitch enveloping—changes to your basic pitch settings that occur over time—the effect of velocity on the pitch envelope,
and the basic characteristics of the pitch envelope itself.
Envelope
Depth
Pitch envelope
depth
-12– +12This determines the amount of pitch enveloping to be used—higher settings result in more extreme envelop-
ing. Negative (-) settings invert the direction of the changes made by the Pitch Envelope.
Envelope V-
Sens
Pitch envelope ve-
locity sensitivity
-63– +63Adjust this parameter when you want your keyboard playing dynamics (velocity) to affect the amount of pitch
enveloping. With higher settings, there will be a greater difference in the amount of enveloping when notes are
played softly or when they’re played hard. Negative (-) settings will reverse the direction of change.
Envelope V-
T1
Pitch envelope
time 1 velocity sen-
sitivity
-63– +63Use this parameter when you want keyboard playing dynamics (velocity) to affect T1 (Time 1) of the pitch en-
velope. With higher settings, the T1 value will change more significantly depending on whether you play softly
or with greater force. With positive (+) settings, greater keyboard velocity will reduce the T1 setting. With neg-
ative (-) settings, greater keyboard velocity will increase the T1 setting.
Envelope V-
T4
Pitch envelope
time 4 velocity sen-
sitivity
-63– +63Use this parameter when you want key-off velocity—the speed at which you release a key—to affect T4 (Time
4) of the pitch envelope. With higher settings, the T4 value will change more significantly depending on wheth-
er you release the key slowly or quickly. With positive (+) settings, faster key-off velocity will reduce the T4
setting. With negative (-) settings, faster key-off velocity will increase the T4 setting.
Envelope
L0–L4
Pitch envelope lev-
el 0–4
-63– +63Specify the pitch envelope levels. They determine how much the pitch changes from the reference pitch (the
value set with Coarse Tune and Fine Tune) at each point. Positive (+) settings cause the pitch to be higher than
the standard pitch, and negative (-) settings cause it to be lower.
Envelope
T1–T4
Pitch envelope
time 1–4
0–127Specify the pitch envelope times. Higher settings lengthen the time until the next pitch is reached. (For exam-
ple, T2 is the time over which the pitch changes from L1 to L2.)
Parameter
ValueDescription
TVF
Filter Type
Filter typeOFF,
LPF,
BPF,
HPF,
PKG,
LPF2,
LPF3
This selects a filter type. A filter typically reduces, or attenuates, a specific frequency range within a Tone in order to
accentuate its other frequencies.
OFF:
No filter is used.
LPF:
A Low Pass Filter reduces the volume of frequencies above the cutoff frequency in order to round off, or un-
brighten, the sound. This is the most common filter used in synthesizers.
BPF:
A Band Pass Filter reduces the volume of frequencies below and above the cutoff frequency range. This is
most effective when creating sounds with strong characteristics since it can accentuate a desired range of frequen-
cies anywhere in the sound.
HPF:
A High Pass Filter reduces the volume of the frequencies below the cutoff frequency. This is suitable for cre-
ating percussive sounds by rolling of their lower frequencies, thus emphasizing their higher ones.
PKG:
A Peaking Filter emphasizes frequencies around the cutoff frequency by raising their level. You can use this
to create wah-wah effects by employing an LFO to change the cutoff frequency cyclically.
LPF2:
Low Pass Filter 2. This reduces the volume of all frequencies above the cutoff frequency. This differs from
LPF in that you can control the amount of the reduction using the TVF ENVELOPE settings while still maintaining
a fixed cutoff frequency. This can be very effective with acoustic-instrument-based Tones, since nothing is done to
weaken the power and energy of the sound.
* This disables the Resonance setting.
LPF3:
Low Pass Filter 3 reduces the volume of frequencies above the cutoff frequency. While similar to LPF2, it
filter reduces the frequencies more gently than LPF2. This can be very effective with acoustic-instrument-based
Tones, since nothing is done to weaken the power and energy of the sound.
* This disables the Resonance setting.
Cutoff Fre-
quency
Cutoff fre-
quency
0–127This selects the frequency at which the filter begins to have an effect on the waveform’s frequency components.
With LPF/LPF2/LPF3 selected for the Filter Type parameter, lower cutoff frequency settings reduce a Rhythm
Tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.
When Filter Type is BPF, the cutoff frequency setting determines the range of frequencies within the Rhythm Tone
that will be heard. This can be useful when creating distinctive sounds.
When Filter Type is HPF, higher settings of the cutoff frequency decrease the level of the Rhythm Tone’s low fre-
quencies, preserving its brighter qualities.
When Filter Type is PKG, the cutoff frequency setting determines the range of frequencies to be emphasized.
T1T2T3T4
L3
L4
L2
L1
L0
Pitch
key is
pressed
key is
released
Time
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Chapter 2. Creating a Rhythm Set
Resonance
Resonance0–127This increases the level of the cutoff frequency to add a popular classic synth character to the sound. Excessively high
settings can produce oscillation, causing the sound to distort.
TVF VELOCITY
This sets the amount of change to the original cutoff frequency in response to differences in velocity, as well as the velocity response curve and velocity’s effect on
Resonance.
Cutoff V-
Sens
TVF cutoff
velocity sen-
sitivity
-63–
+63
This sets the amount of change to the Cutoff setting to be applied as a result of changes in playing velocity. With higher
settings, there is a greater amount of change between softly and strongly played notes. Negative (-) settings reverse
the direction of change.
Cutoff V-
Curve
TVF cutoff
velocity
curve
FIXED,
1–7
This selects one of seven curves that determine how keyboard playing dynamics (velocity) influence the Rhythm
Tone’s cutoff frequency. When V-Curve is set to “FIXED,” the cutoff frequency remains unchanged regardless of how
hard or soft the keys are played.
Resonance
V-Sens
TVF reso-
nance veloci-
ty sensitivity
-63–
+63
Use this parameter when you want velocity to affect the amount of Resonance. With higher settings, there is a greater
difference in the amount of Resonance between softly and strongly played notes. Negative (-) values reverse the di-
rection of the change.
TVF ENVELOPE
These parameters determine the amount of filter enveloping—changes to your original cutoff frequency setting that occur over time—the effect of velocity on the
TVF envelope, and the basic characteristics of the TVF envelope itself.
Envelope
Depth
TVF enve-
lope depth
-63–
+63
This adjusts the amount of filter enveloping. Higher settings produce more change. Negative (-) values invert the ef-
fect of the TVF envelope.
Envelope V-
Sens
TVF enve-
lope velocity
sensitivity
-63–
+63
Use this parameter when you want keyboard playing dynamics (velocity) to affect the depth of the TVF Envelope.
With higher settings, there is a greater difference in the TVF envelope depth when you play softly or hard. Negative
(-) settings reverse the direction of change.
Envelope V-
Crv
TVF enve-
lope velocity
curve
FIXED,
1–7
This selects one of seven velocity curves that determine how velocity will affect the depth of the TVF Envelope. The
selected curve is displayed graphically to the right of its value. When set to “FIXED,” the TVF envelope depth remains
unchanged, regardless of how hard or soft you play.
Envelope V-
T1
TVF enve-
lope time 1
velocity sen-
sitivity
-63–
+63
Use this parameter when you want keyboard playing dynamics (velocity) to affect T1 (Time 1) of the TVF envelope.
With higher settings, the T1 value will change more significantly depending on whether you play softly or with great-
er force. With positive (+) settings, greater keyboard velocity will reduce the T1 setting. With negative (-) settings,
greater keyboard velocity will increase the T1 setting. Use this parameter when you want velocity to affect T1 (time)
of the TVF envelope. For higher settings, there will be a greater difference between softly and strongly played notes.
For positive (+) settings, keyboard velocity will speed up the T1 time. For negative (-) settings, keyboard velocity will
slow down the T1 time.
Envelope V-
T4
TVF enve-
lope time 4
velocity sen-
sitivity
-63–
+63
Use this parameter when you want key-off velocity—the speed at which you release a key—to affect T4 (Time 4) of
the TVF envelope. With higher settings, the T4 value will change more significantly depending on whether you release
the key slowly or quickly. With positive (+) settings, faster key-off velocity will reduce the T4 setting. With negative
(-) settings, faster key-off velocity will increase the T4 setting.
Envelope
L0–L4
TVF enve-
lope level 0–4
0–127Specify the TVF envelope levels. These settings specify how the cutoff frequency changes at each point, relative to the
standard cutoff frequency.
Envelope
T1–T4
TVF enve-
lope time 1–4
0–127Specify the TVF envelope times. Higher settings lengthen the time until the next cutoff frequency level is reached. (For
example, T2 is the time over which L1 changes to L2.)
Parameter
ValueDescription
LPFBPFHPFPKG
parameter value
Level
Cutoff frequency
Frequency
High
Low
1234567
T1T2T3T4
L3
L1
L2
L4
L0
Cutoff
Frequency
Time
key is
pressed
key is
released
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Chapter 2. Creating a Rhythm Set
Chapter 2
Making the Volume Change (TVA)
The TVA (Time Variant Amplifier) controls the Rhythm Tone’s volume changes and stereo positioning.
Other Settings (CONTROL)
Parameter
ValueDescription
TVA
Level
Rhythm tone
level
0–127This sets the Rhythm Tone’s basic volume. This setting is useful primarily for adjusting the volume balance between
Rhythm Tones in a Rhythm Set.
*The overall volume of the Rhythm Set is set by the Level (Rhythm Set Level, COMMON group p. 55) setting, rais-
ing or lowering the Tone level settings of its individual Rhythm Tones by the selected amount.
PanRhythm tone
pan
L64–63RThis specifies the stereo position of the Rhythm Tone. L64 places the Rhythm Tone hard left, 0 puts it dead-center
and 63R pans it hard right.
Pan RandomRandom pan
depth
0–63Use this parameter to activate random panning, note-by-note. Higher values result in more extreme fluctuations in
the Rhythm Tone’s stereo placement.
Pan Alter-
nate
Alternate pan
depth
L63–63RThis setting causes panning to be alternated between left and right each time a key is pressed. Higher values result
in a greater left/right width. You can select the stereo placement of the first key using this parameter—its opposite
will be used for the second note, and so on back and forth. If you want to alternate the pan position of two Rhythm
Tones, set them to the exact opposite L and R settings.
TVA VELOCITY
Velocity
Sens
TVA level ve-
locity sensi-
tivity
-63– +63Use this setting when you want keyboard touch (velocity) to affect the Rhythm Tone volume. Set this to a positive
value to have the changes in tone volume increase the more forcefully the keys are played; to make the Rhythm Tone
play more softly as you play harder, set this to a negative value.
Velocity
Curve
TVA level ve-
locity curve
FIXED,
1–7
This setting allows you to select from seven velocity curves that determine how the force with which the keyboard
is played is to affect the Rhythm Tone’s volume. When set to “FIXED,” the Rhythm Tone’s volume will not be affect-
ed by the force with which the keyboard is played.
TVA ENVELOPE
This specifies the manner in which keyboard velocity will affect the times of the TVA envelope.
Envelope V-
T1
TVA enve-
lope time 1
velocity sensi-
tivity
-63– +63Use this parameter when you want keyboard playing dynamics (velocity) to affect T1 (Time 1) of the TVA envelope.
With higher settings, the T1 value will change more significantly depending on whether you play softly or with
greater force. With positive (+) settings, greater keyboard velocity will reduce the T1 setting. With negative (-) set-
tings, greater keyboard velocity will increase the T1 setting.
Envelope V-
T4
TVA enve-
lope time 4
velocity sensi-
tivity
-63– +63Use this parameter when you want key-off velocity—the speed at which you release a key—to affect T4 (Time 4) of
the TVA envelope. With higher settings, the T4 value will change more significantly depending on whether you re-
lease the key slowly or quickly. With positive (+) settings, faster key-off velocity will reduce the T4 setting. With neg-
ative (-) settings, faster key-off velocity will increase the T4 setting.
Envelope
T1–T4
TVA enve-
lope time 1–4
0–127Specify the TVA envelope times. Higher settings lengthen the time until the next volume level is reached. (For ex-
ample, T2 is the time over which L1 changes to L2.)
Envelope
L1–L3
(TVA enve-
lope level 1–3
0–127Specify the TVA envelope levels. These settings specify how the volume changes at each point, relative to the stan-
dard volume.
Parameter
ValueDescription
CONTROL
Bend Range
Rhythm tone pitch
bend range
0–48
Specifies the amount of pitch change that will occur when you move the Pitch Bend Lever.
Env Mode
Rhythm tone enve-
lope mode
NO-SUS,
SUSTAIN
When a loop-type waveform is selected, it will normally continue to sound as long as a key is pressed. If you want a
note to decay naturally even when the key remains pressed, set this to “NO-SUSTAIN.”
*If a one-shot type Wave is selected, it will not sustain even if this parameter is set to “SUSTAIN.”
Mute Group
Mute group
OFF, 1–31
The Mute Group function allows you to designate two or more Rhythm Tones that are not allowed to sound simulta-
neously. For example, in a real-world acoustic drum set, an open hi-hat and a closed hi-hat sound will never occur si-
multaneously, since they’re produced by the same instrument. To simulate this behavior on the XV-5050, you can set
the open and closed hi-hat Rhythm Tones to the same Mute Group. You can have up to 31 Mute Groups per Rhythm
Set. If you do not want a Rhythm Tone to use a Mute Group, turn the feature off.
Assign Type
Assign type
MULTI,
SINGLE
This setting determines whether a Rhythm Tone note that is playing is stopped when the same note is played again
(SINGLE), or whether it will continue to play, layered with the new note.
Rx MIDI (Receive MIDI)
These parameters determine how each Rhythm Tone in a Rhythm Set will respond to received Expression/Pan/Hold 1 MIDI messages.
Rx MIDI Ex-
press
Rhythm tone re-
ceive expression
switch
OFF, ON
If you want the Rhythm Tone to respond to Expression messages, turn this parameter on. If not, turn it off.
Rx MIDI Pan
Rhythm tone re-
ceive pan mode
CONT,
KEY-ON
CONT:
Pan messages will be responded to immediately, instantly changing the stereo position of the Rhythm Tone.
KEY-ON:
The stereo location of the Rhythm Tone will be changed only when the next note is played. If a Pan message
is received while a note is sounding, its stereo location will not change.
Rx MIDI
Hold-1
Rhythm tone re-
ceive hold 1 switch
OFF, ON
If you want the Tone to respond to Hold 1 messages, turn this parameter on. If not, turn it off.
1234567
T1T2T3T4
L3
L1
L2
Level
key is pressed
key is released
Time
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Chapter 2. Creating a Rhythm Set
Effects Settings
Refer to “Patch/Rhythm Set Mode Settings” (p. 70).
Saving Rhythm Sets You
Create
Refer to “Saving a Rhythm Set” (p. 104).
Copying the Settings of
Another Rhythm Tone
(Rhythm Key Copy)
Rhythm Tone settings from any Rhythm Set can be copied to any key
of the currently selected Rhythm Set. This function can save time and
effort when creating a Rhythm Set.
1.
Make sure that a Rhythm Tone (destination) is selected.
2.
Press [UTILITY] to make its indicator light.
3.
Press [ CURSOR] a few times to move the cursor to the
upper left of the display.
4.
Turn [VALUE] to choose "COPY KEY."
fig.02-06
5.
Press [CURSOR ] twice to move the cursor to the lower
right of the display.
6.
Turn [VALUE] to choose the Rhythm Set containing the
settings you wish to copy.
"TEMP" means the currently selected Rhythm Set.
7.
Use [ CURSOR]/[CURSOR ] and [VALUE] to choose
the Rhythm Set containing the settings you wish to copy
(From), and the Rhythm Set to which you want to copy the
settings (To).
fig.02-07
8.
Press [ENTER] to execute the Copy.
*To cancel, press [EXIT].
9.
Press [EXIT] to return to the RHYTHM PLAY screen.
A "*" symbol appears at the left of the Rhythm Set name,
indicating that the Copy has been executed.
Rhythm Set Name Copy
You can copy the name of a Rhythm Set to the current Rhythm
Set.
1.Select the Rhythm Set whose name you wish to change.
2.Press [UTILITY] to make its indicator light.
3.Press [ CURSOR] a few times to move the cursor to
the upper left of the display.
4.Turn [VALUE] to choose "COPY NAME."
fig.02-08
5.Press [CURSOR ] to move the cursor to the
parameter at the lower left of the display.
6.Turn [VALUE] to choose the desired Rhythm Set whose
name you wish to copy.
7.Press [ENTER] to execute the Copy.
*To cancel, press [EXIT].
8.Press [EXIT] to return to the RHYTHM PLAY screen.
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Chapter 3
Chapter 3 Creating a Performance
How a Performance Is
Organized
In the XV-5050’s Performance mode, you can play and control up to
16 instrument sounds at the same time, including Patches and/or
Rhythm Sets. Such a set of sounds, as well as an effect setup, can be
saved as a “Performance.” Each Performance is comprised of 16
“Parts,” each of which controls one of its sounds. Because the XV-
5050 sound generator can play multiple sounds at the same time, it’s
called a “multitimbral sound module.”
fig.Performance.e
Basic Ways to Use
Performances
There are three basic ways to use Performances.
Playing Multiple Layered Patches
(Layer)
Refer to “Quick Start” (p. 25).
Playing Different Patches In Different
Areas of the Keyboard (Split)
Refer to “Quick Start” (p. 28).
Using the XV-5050 as a Multitimbral
Sound Module
In Performance mode, you can use the XV-5050 as a 16-part
multitimbral sound module. Let’s try choosing some Parts and their
sounds, and then play the multiple Parts together as a Performance.
The basic steps for doing this include:
•Choosing the Parts to Play (p. 63)
•Choosing a Patch for each Part (p. 65)
•Setting the Parts’ MIDI reception channels (p. 67)
After you’ve completed setting up your Performance, try playing a
sequence from your computer or sequencer using the Performance’s
sounds.
Turning a Part On or Off
Turn on each Part you wish to use.
1.
Choose the Performance you wish to use.
2.
Press [EDIT] to make its indicator light.
3.
Press [ CURSOR] a few times to move the cursor to the
parameter group in the upper line of the display.
4.
Turn [VALUE] to select “MIDI.”
5.
Press [CURSOR ] to move the cursor to the parameter.
6.
Turn [VALUE] to select “Rx Switch.”
7.
Press [CURSOR ] to move the cursor to the value.
8.
Press [ PART]/[PART ] to select the Part you wish to
turn on or off.
9.
Turn [VALUE] to select “ON.”
10.
Press [EXIT] to return to the PERFORM PLAY screen.
How to Adjust a Performance
Setting
1.
Choose the Performance you wish to use.
2.
Press [EDIT] to make its indicator light.
3.
Press [ CURSOR] a few times to move the cursor to the
parameter group in the upper line of the display.
4.
Turn [VALUE] to choose “COMMON.”
5.
Press [CURSOR ] to move the cursor to the parameter.
6.
Turn [VALUE] to choose the parameter you want to set.
7.
Press [CURSOR ] to move the cursor to the value.
8.
Turn [VALUE] to choose the desired value.
9.
Press [EXIT] to return to the PERFORM PLAY screen.
A “*” symbol appears at the left of the Performance name,
indicating that its settings have been changed.
fig.3-02
If you turn off the power or choose another Performance while
the “*” symbol is displayed, your new Performance settings will
be lost. If you wish to preserve them, save the changed
Performance using the Write operation. (p. 104)
Performance
Patch/
Rhythm set
Part 1
Part 9
Part 10
Part11
Part 16
Patch/
Rhythm set
Patch/
Rhythm set
ValueParameter
Parameter Group
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Chapter 3 Creating a Performance
Selecting a Part for Editing
Some parameters can be set independently for each Part in a Performance.
1.
In the PERFORMANCE EDIT screen, press [ PART]/[PART ] to choose the Part whose parameters you wish to edit.
The selected Part’s number appears in the upper right of the display.
Establishing Settings for an Entire Performance (COMMON)
*Parameters that can be set independently for each Part are indicated by “P.”
Setting the Keyboard Range
You can set each Part’s keyboard range (Key Range), the area on the keyboard in which the Part sounds. Adjust Part Key Ranges when you wish
to divide the keyboard into areas with a different Patch in each area — this is called a “split.”
Other Settings
Parameter
ValueDescription
COMMON
Name
Performance Namespace, A–Z, a–z, 0–9, ! " # $ %
& ’ ( ) * + , - . / : ; < = > ? @ [ ¥
] ^ _ ` { | }
You can give a Performance a name of up to 12 characters. Use [ CURSOR]/[CUR-
SOR ] to move the cursor to a character position, and then turn [VALUE] to choose
the desired character.
Parameter
ValueDescription
COMMON
Key Range L.Fade
Part Keyboard Fade
Width Lower
0–127
Determines what happens to the Part’s level when a note that’s lower than its specified keyboard
range is played. Higher settings result in a more gradual change in volume. If you don’t want the Part
to sound at all when a note below the keyboard range is played, set this parameter to 0.
P
Key Range LowerPart Keyboard
Range Lower
C-1–UPPER
Specifies the lowest note that causes the Part to play its sound.
P
Key Range UpperPart Keyboard
Range Upper
LOWER–G9
Specifies the highest note that causes the Part to play its sound.
*It is not possible to set Lower to a value greater than the Upper value, or Upper to a value
less than the Lower value.
P
Key Range
U.Fade
Part Keyboard Fade
Width Upper
0–127
Determines what happens to the Part’s level when a note that’s higher than its specified keyboard
range is played. Higher settings result in a more gradual change in volume. If you don’t want the Part
to sound at all when a note above the keyboard range is played, set this parameter to 0.
P
Parameter
ValueDescription
COMMON
MFX Control Ch
Multi-Effects Control
Channel
1–16, OFF
Sets the channel that controls Multi-effects assigned to the Performance.
Solo Part SelectOFF, 1–16
Select the Part whose sound you want to hear. Parts other than the Part you choose here will not sound.
1
L.Fade value
U.Fade value
0
127
Level
Upper
Lower
Key number
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Chapter 3 Creating a Performance
Chapter 3
Settings for Each Part
Choosing a Part’s Patch or Rhythm Set
You can choose the Patch or Rhythm Set that assigned to each Part.
Setting a Part’s Volume, Pan, Pitch, and Polyphony
You can set a Part’s volume, panning, and the number of notes it can play simultaneously.
Editing the Attack and Release of a Part’s Sound
You can determine how a Part plays a sound by setting it to modify the sound’s programmed cutoff frequency, Resonance, Velocity Sense, and
TVF and TVA Envelope attack and release time settings.
Parameter
ValueDescription
PART
Part Type
PATCH, RHYTHMSelect the type of sound the Part plays.
Part GroupUSER, PR-A–H, GM,
XP-A, XP-B
Chooses the group (Bank) to which the desired Patch or Rhythm Set belongs.
*It is not possible to choose XP-A, XP-B unless a wave expansion board is inserted into the cor-
responding slot. (p. 120)
(US:001–XB:***)Patch/Rhythm
Set Number
US:001–XB:***Chooses the desired Patch or Rhythm Set by its number.
Parameter
ValueDescription
PART
Level
Part Level0–127Sets the volume of the Part. This setting’s main purpose is to adjust the volume balance between Parts.
PanPart PanL64–63RSpecifies the stereo position of the Part’s sound. L64 pans the sound hard left, 0 puts it dead-center and 63R pans
it hard right.
Voice RsvVoice Reserve0–63, FULLSpecifies the number of voices that reserved for each Part when more than 64 voices are played simultaneously.
*It is not possible for the settings of all Parts to total an amount greater than 64. The remaining number of avail-
able voices is displayed in round brackets at the right of this parameter. Pay attention to this readout as you
make set the Voice Reserve parameter.
Parameter
ValueDescription
PART
Cutoff Offset
Part Cutoff Offset-64–+63Raises or lowers the TVF cutoff frequency settings for each of the Tones in the Part’s sound.
Resonance OffsetPart Resonance Offset-64–+63Raises or lowers the TVF Resonance settings for each of the Tones in the Part’s sound.
Attack OffsetPart Attack Time Offset-64–+63Raises or lowers the TVF/TVA attack time (T1) settings for each of the Tones in the Part’s
sound.
Decay OffsetPart Decay Offset-64–+63Raises or lowers the TVF/TVA attack time (T2 and T3) settings for each of the Tones in the
Part’s sound.
Release OffsetPart Release Time Offset-64–+63Raises or lowers the TVF/TVA release time (T4) settings for each of the Tones in the Part’s
sound.
Vibrato RatePart Vibrato Rate-64–+63Adjusts the vibrato speed (the rate at which the pitch is modulated). The pitch will be mod-
ulated more rapidly for higher settings and more slowly with lower settings.
Vibrato DepthPart Vibrato Depth-64–+63Adjusts the depth of the vibrato effect (the depth at which the pitch is modulated). The pitch
will be modulated more greatly for higher settings, and less with lower settings.
Vibrato DelayPart Vibrato Delay-64–+63Adjusts the delay time until the vibrato (pitch modulation) effect begins. Higher settings will
produce a longer delay time before vibrato begins, while lower settings produce a shorter
time.
Velocity SensPart Velocity Sensitivity
Offset
-63–+63Raises or lowers the VELOCITY V-Cutoff and the TVA V-Sens settings for each of the Tones
in the Part’s sound.
Calculating the Number of Voices Being Used
The number of notes, or “voices,” that the XV-5050 can sound simultaneously depends on the number of Tones in the Patches you’re using
and the number of keys being pressed. For example, if you play one note using a Patch that consists of only one Tone, you’ll use up one
voice of polyphony. XV-5050 Tones may use two Waveforms. If a Patch’s Tone uses two Waveforms, the number of voices it requires is
doubled. If two keys are pressed with a Patch that has four Tones, and each Tone uses two Waveforms, a total of sixteen voices are used.
This number is obtained by performing the following calculation. Count the number of Tones with two Waveforms and multiply this
number by 2. Add the number of Tones that use one Waveform. Multiply this total by the number of keys pressed.
The XV-5050 can play up to 64 Tones simultaneously. When you’re using the XV-5050 multitimbrally, keep this in mind, and adjust your
Voice Reserve settings so that each Part is guaranteed at least the minimum number of voices it requires.
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Chapter 3 Creating a Performance
Changing the Pitch
You can set the pitch and bend range each Part uses when playing its sound.
Changing the Way a Part’s Sound is Played
You can set the MONO/POLY, Legato and Portamento each Part uses when playing its sound.
Scale Tune
The XV-5050 allows you to use temperaments other than equal temperament.
One set of Scale Tune settings can be created in Patch mode. In Performance mode, each Part can have its own Scale Tune settings.
*The selected scale applies to MIDI messages received from an external MIDI device as well as to local sound generation.
Parameter
ValueDescription
PART
Octave Shift
Part Octave Shift-3–+3Adjusts the pitch of the Part’s sound up or down in units of an octave (+/-3 octaves).
Coarse TunePart Coarse Tune-48–+48Adjusts the pitch of the Part’s sound up or down in semitone steps over a range of +/-4 octaves.
Fine TunePart Fine Tune-50–+50Adjusts the pitch of the Part’s sound up or down in 1-cent steps (1/100th of a semitone) over a range
of half a semitone up or down.
Bend RangePart Pitch Bend Range0–24, PATCHSpecifies the amount of pitch change that occurs when you move the Pitch Bend Lever. This overrides
the sound’s own pitch-bend settings. The amount of pitch change downward or upward that occurs
when the lever is moved is the same for both its left and right directions (or down and up on some
MIDI controllers). When PATCH is chosen, the bend range settings for the assigned Patch take effect.
Parameter
ValueDescription
PART
Mono/Poly
Part Mono/PolyMONO, POLY, PATCHSets how the Patch’s notes play. The MONO setting is effective when playing a solo instrument
Patch such as sax or flute.
MONO:
Only one note sounds at a time.
POLY:
Two or more notes can be played simultaneously.
PATCH:
The Part uses the Patch’s Mono/Poly setting.
Legato SwitchPart Legato
Switch
OFF, ON, PATCHTurn this parameter on when you want to use the Legato feature and off when you don’t. Legato
is a feature that works only when the Key Assign Mode is MONO. When Legato is ON, pressing
one key when another is already pressed causes the currently playing note’s pitch to change to
that of the newly pressed key while continuing to sound. This can be effective when you wish to
simulate performance techniques such as a guitarist’s hammering on and pulling off strings.
When PATCH is selected, the Patch’s own settings take effect.
Portamento
SW
Part Portamento
Switch
OFF, ON, PATCHSpecifies whether the portament effect is applied (ON) or not (OFF). When PATCH is selected,
the settings for the assigned Patch take effect.
Portamento
Time
Part Portamento
Time
0–127, PATCHSpecifies the time over which the pitch changes. Higher settings cause the pitch change to the next
note to take more time. When PATCH is chosen, the settings for the assigned Patch take effect.
Parameter
ValueDescription
PART
Key C–B Scale
Key Scale C–B-64– +63Adjusts the pitch of each note in one-cent steps (1/100th of a semitone) relative to its equal-tempered pitch.
What is Portamento?
Portamento is an effect that smoothly changes the pitch from the first-played key to the next-played key.
When Key Assign is MONO, applying portamento produces an effect similar to the slide performance
technique of a violinist. Portamento can also be applied when Key Assign is polyphonic (POLY).
<Equal Temperament>
This scale divides an octave into 12 equal parts using the tuning
system that is most widely used in Western music.
<Pure Temperament>
With this tuning, the three fundamental chords sound richer
compared to equal temperament. This effect only applies to one
key, and transposition can produce less-pleasing results.
<Arabian Scale>
In this scale, E and B are a quarter note lower, and C#, F# and G#
are a quarter-note higher compared to equal temperament. The
intervals between G and B, C and E, F and G#, Bb and C#, and Eb
and F# have a natural third-the interval between a major third and
a minor third. On the XV-5050, you can use Arabian temperament
in the three keys of G, C and F.
Example: Tonic C
Note nameEqual tem-
perament
Pure temper-
ament
Arabian
scale tem-
perament
C00-6
C#0-8+45
D0+4-2
Eb0+16-12
E0-14-51
F0-2-8
F#0-10+43
G0+2-4
G#0+14+47
A0-160
Bb0+14-10
B0-12-49
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Chapter 3 Creating a Performance
Chapter 3
Establishing a Part’s MIDI Settings
*Parameters that can be set independently for each Part are indicated by “P.”
*Parameters that can be set independently for each MIDI channel are indicated by “C.”
To choose the MIDI channel whose parameters you wish to set, press [ PART]/[PART ].
The selected MIDI channel’s number appears in the upper right of the display.
Confirming MIDI Information for Each Part (INFO)
In this display you can check the receive status of various types of MIDI message for each Part. This is a convenient way to check that the sound
generator is responding correctly to messages from the keyboard or external MIDI controllers.
1.
In Performance mode, press [INFO].
2.
Turn [VALUE] to choose the item you wish to confirm.
3.
Press [ PART]/[PART ] to choose the Part you wish to confirm.
4.
Press [INFO] or [EXIT] to return to the previous screen.
ParameterValueDescription
MIDI
Rx Channel
Receive Channel1–16Sets the MIDI channel to which the Part responds.P
Rx SwitchReceive SwitchOFF, ONThis enables (ON) or disables (OFF) the Part’s response to received MIDI messages.P
Mute SwitchOFF, MUTEThis silences, or “mutes,” the Part when set to MUTE.
*Although the Part’s sound is muted, the Part still receives MIDI messages. Thus, even
when the Part’s sound is switched on or off during playback of a song, the Part contin-
ues to keep up with the latest received MIDI data.
P
Rx Bank SelectReceive Bank Select
Switch
OFF, ONSets whether the Part responds to received MIDI Bank Select messages (ON) or not (OFF).C
Rx Prog ChangeReceive Program
Change Switch
OFF, ONSets whether the Part responds to received MIDI Program Change messages (ON) or not
(OFF).
C
Rx VolumeReceive Volume SwitchOFF, ONSets whether the Part responds to received MIDI Volume messages (ON) or not (OFF).C
Rx PanReceive Pan SwitchOFF, ONSets whether the Part responds to received MIDI Pan messages (ON) or not (OFF).C
Rx ExpressionReceive Expression
Switch
OFF, ONSets whether the Part responds to received MIDI Expression messages (ON) or not (OFF).C
Rx Hold-1Receive Hold 1 SwitchOFF, ONSets whether the Part responds to received MIDI Hold 1 messages (ON) or not (OFF).C
Rx BenderReceive Pitch Bend
Switch
OFF, ONSets whether the Part responds to received MIDI Bender messages (ON) or not (OFF).C
Rx ModulationReceive Modulation
Switch
OFF, ONSets whether the Part responds to received MIDI Modulation messages (ON) or not (OFF).C
Rx Ch PressureReceive Channel Pres-
sure Switch
OFF, ONSets whether the Part responds to received MIDI Aftertouch messages (ON) or not (OFF).C
Rx Poly PressureReceive Polyphonic
Pressure Switch
OFF, ONSets whether the Part responds to received MIDI Polyphonic Aftertouch messages (ON) or
not (OFF).
C
Velocity CurveOFF, 1–4For each Part, you can select from among four velocity curves to find the one that best
matches the touch of the MIDI keyboard connected to the XV-5050. Set this to “OFF” if
you’re using the MIDI keyboard’s own velocity curve.
C
Phase LockPhase Lock SwitchOFF, ONThis setting activates (ON) or de-activates (OFF) synchronization of the timing of Parts that
share a common MIDI channel.
*When Part sounds are layered on top of each other as a result of sharing a MIDI channel,
there may be a discrepancy in their timing. The Phase Lock feature can synchronize the
sounds so that they start precisely at the same time. However, since this delays the
sounds slightly in order to line them up, turn this feature off when it’s not needed.
C
1234
Part 1
(5, 9, 13)
Part 2
(6, 10, 14)
Part 3
(7, 11, 15)
Part 4
(8, 12, 16)
Receive Status
etc.
ItemPart
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Chapter 3 Creating a Performance
Adjusting Effect Settings
Refer to “Performance Mode Settings” (p. 72).
Saving Performances You
Create
Refer to “Saving a Performance” (p. 104).
Copying Settings from One
Part to Another
(Performance Part Copy)
Part settings from any Performance can be copied to the currently
selected Part. This can save you time when setting up Parts.
1.
Make sure that a Part is selected.
2.
Press [UTILITY] to make its indicator light.
3.
Press [ CURSOR] some times to move the cursor to the
upper left of the display.
4.
Turn [VALUE] to choose “COPY PART.”
5.
Press [CURSOR ] twice to move the cursor to the lower
right of the display.
6.
Turn [VALUE] to choose the Performance containing the
Part whose settings you wish to copy.
“TEMP” means the currently selected Performance.
7.
Use [ CURSOR]/[CURSOR ] and [VALUE] to select
the Part whose settings you want to copy (From) and the
Part to which you want to copy those settings (To).
8.
Press [ENTER] to execute the Copy.
*To cancel, press [EXIT].
9.
Press [EXIT] to return to the PERFORM PLAY screen.
A “*” symbol appears at the left of the Performance name,
indicating that the Copy has been executed.
Performance Name Copy
You can copy the name from any Performance to the current
Performance.
1.Select the Performance whose name you want to
change.
2.Press [UTILITY] to make its indicator light.
3.Press [ CURSOR] some times to move the cursor to
the upper left of the display.
4.Turn [VALUE] to choose “COPY NAME.”
5.Press [CURSOR ] to move the cursor to the lower
right of the display.
6.Turn [VALUE] to choose the desired Performance
whose name you wish to copy.
7.Press [ENTER] to execute the Copy.
*To cancel, press [EXIT].
8.Press [EXIT] to return to the PERFORM PLAY screen.
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Chapter 4
Chapter 4 Using the XV-5050 Effects
This chapter explains how effects are applied in Patch/Rhythm Set
mode or Performance mode.
For information about the application of effects in GM mode,
refer to “Making Effects Settings in GM Mode (EFFECTS)” (p.
112).
Effect Types
The XV-5050 has the following four onboard effect processors, and
settings can be made independently for each.
MFX (Multi-Effects)
The Multi-effects are multi-purpose effects that completely change
the sound type by changing the sound itself. Contained are 90
different effects types; select and use the type that suits your aims. In
addition to effects types composed of simple effects such as
Distortion, Flanger, and other such effects, you can also set up a
wide variety of other effects, even connecting effects in series or in
parallel. Furthermore, while chorus and reverb can be found among
the Multi-effects types, the following chorus and reverb are handled
with a different system.
In GM mode, you cannot use Multi-effects.
Chorus
Chorus adds fatness and breadth to the sound. You can select
whether to use this as a chorus effect or a delay effect.
A GM-exclusive Chorus can be used in GM mode.
Reverb
Reverb adds an ambience to sounds so they seem to be playing in an
actual physical space. Five different types are offered, so you can
select and use the type that suits your purpose.
A GM-exclusive Reverb is used in GM mode.
EQ (Equalizer)
Equalizer boosts or cuts specific frequencies within a sound to adjust
the tone.
*Equalizer is set in System mode (p. 109).
Turning Effects On/Off
The XV-5050’s onboard effects can be turned on/off as a whole.
Turn these settings OFF when you wish to listen to the unprocessed
sound as you create a sound, or when you wish to use external
effects processors instead of the built-in effects.
1.
Hold down [SHIFT] and press [PATCH FINDER] to make its
indicator blinking.
fig.00-13
2.
Press [ CURSOR]/[CURSOR ] to select the effect that
you wish to turn on/off.
3.
Turn [VALUE] to select ON or OFF.
Effect ON/OFF settings are global XV-5050 settings. These
settings cannot be made for each Patch or Performance
individually.
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Chapter 4 Using the XV-5050 Effects
Patch/Rhythm Set Mode
Settings
Only one Multi-effect, Chorus, or Reverb effect can be set for each
Patch or Rhythm Set. You cannot apply differing types of Multi-
effects, Chorus, or Reverb to each of the Tones or Rhythm Tones
comprising the Patch or Rhythm Set.
Basic Process of Making Effects
Settings
When applying effects in Patch/Rhythm Set mode, the following
procedure is used to make the settings.
1.
Setting the Output Method of the Direct Sound (Output
Assign)
Settings determining whether or not the signal passes through
the Multi-effects, the jack used to output the sound, and the type
of output (stereo or mono) are made for each individual Patch or
Rhythm Set, or each Tone or Rhythm Tone. -> (p. 71)
2.
Setting the Amount of Each Effect Applied (Send Level)
Set the level (volume) of each effect signal to be sent for each
Tone or Rhythm Tone. -> (p. 71)
3.
Making Multi-Effects Settings
Select the type of Multi-effects to be used, and set the parameters
for the selected Multi-effect. -> (pp. 74–101)
4.
Setting the Multi-Effects Controller
When using MIDI messages to change the Multi-effects
parameters in realtime, select the Multi-effects controller. -> (p.
74)
5.
Setting the Output Destination and Volume for the Sounds
Passing Through the Multi-Effects
Select the output jack and set the output level (volume) of the
sounds passing through the Multi-effects. You can also apply
Chorus or Reverb to the sound that passes through Multi-effects.
-> (p. 74)
6.
Making Chorus Settings
Select the Chorus type to be used, and set each of the parameters
for the selected Chorus. -> (p. 74, p. 102)
7.
Setting the Output Destination and Volume for the Sounds
Passing Through the Chorus
Select the output jack and set the output level (volume) of the
sounds passing through the Chorus. You can also apply Reverb
to the sound that passes through Chorus. -> (p. 74)
8.
Making Reverb Settings
Select the Reverb type to be used, and set each of the parameters
for the selected Reverb. -> (p. 74, p. 103)
9.
Setting the Output Destination and Volume for the Sounds
Passing Through the Reverb
Select the output jack and set the output level (volume) of the
sounds passing through the Reverb. -> (p. 74)
Audio Signal Flow
The audio path of direct sounds or sounds that have been passed through the effects in Patch/Rhythm Set mode is shown in the figure below.
fig.3-01
A
B
CHO
TONE/
RHYTHM
TONE
OUTPUT A
OUTPUT B
REV
M-FX
Output Assign
M-FX
Output Assign
Chorus
Output Assign
Reverb
Output Assign
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Chapter 4 Using the XV-5050 Effects
Chapter 4
Setting Procedure
You can set the direct sound’s output method and the amount of
effect applied for each Tone or Rhythm Tone individually.
1.
Choose the Patch/Rhythm Set you wish to use.
2.
Press [EDIT] to make its indicator light.
3.
Press [ CURSOR] a few times to move the cursor to the
parameter group in the upper line of the display.
4.
Turn [VALUE] to choose “EFFECTS.”
5.
Press [CURSOR ] to move the cursor to the parameter.
6.
Turn [VALUE] to choose the parameter you want to set.
7.
Choose the Tone/Rhythm Tone for which you want to make
settings.
For more information on how to choose Tone/Rhythm Tone,
refer to pages 39 and 56.
8.
Press [CURSOR ] to move the cursor to the value.
9.
Turn [VALUE] to select the desired setting.
10.
Press [EXIT] to return to the PATCH/RHYTHM PLAY screen.
A “*” symbol appears at the left of the Patch/Rhythm Set name,
indicating that its settings have been changed.
If you turn off the power or choose another Patch/Rhythm Set
while the “*” symbol is displayed, your new Patch/Rhythm Set
settings will be lost. If you wish to preserve them, save the
changed Patch/Rhythm Set using the Write operation. (p. 104)
•When the Output Assign parameter (p. 40)/(p. 55) is set to
anything but TONE, the setting made here has no effect.
•When the Struct Type (PATCH:COMMON) parameter has a
setting of Type 2–10, the outputs of Tones 1 and 2 will be
combined with Tone 2, and the outputs of Tones 3 and 4 will be
combined with Tone 4. For this reason, the setting of Tone 1 will
follow the setting of Tone 2, and the setting of Tone 3 will follow
the setting of Tone 4 (p. 41).
•When outputting in mono, the Pan setting is disabled.
•Chorus and Reverb are output in mono at all times.
•When the settings are such that signals are split and output from
the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, and no plug is
inserted in the INDIVIDUAL 2 jack, the sounds from
INDIVIDUAL 1 and INDIVIDUAL 2 are mixed together, then
output from the INDIVIDUAL 1 jack. This sound comprises the
sounds from the INDIVIDUAL 1 and 2 jacks.
If the Mix/Parallel parameter (SYSTEM:GENERAL) is set to
MIX, all sounds are output from the OUTPUT A (MIX) jacks in
stereo (p. 107).
For more on how to set each effect, refer to the pages shown
below.
•Multi-effects -> (p. 74, pp. 75–101)
•Chorus -> (p. 74, p. 102)
•Reverb -> (p. 74, p. 103)
Parameter
ValueDescription
EFFECTS
Output Asgn
Tone Output AssignMFX, OUTPUT A/B,
INDIV 1–4
Sets the direct sound’s output method for each Tone or Rhythm Tone.
MFX:
Output in stereo through Multi-effects. You can also apply Chorus or Reverb to the sound that
passes through Multi-effects.
OUTPUT A/B:
Output to the OUTPUT A (MIX) / B jacks in stereo without passing through Multi-
effects.
INDIV 1–4:
Output to the INDIVIDUAL 1–4 jack in mono without passing through Multi-effects.
Output Level
Tone Output Level0–127Sets the direct sound’s volume for each Tone or Rhythm Tone. When Multi-effects are be-
ing applied, this sets the amount of the effect that is applied; when Multi-effects are not
applied, this sets the volume of the direct sound.
Chorus SendTone Chorus Send Level0–127Sets the chorus depth for individual Tone/Rhythm Tone. If you don’t want to add the
Chorus effect, set it to 0.
Reverb SendTone Reverb Send Level0–127Sets the reverb depth for individual Tone/Rhythm Tone. If you don’t want to add the Re-
verb effect, set it to 0.
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Chapter 4 Using the XV-5050 Effects
Performance Mode Settings
Three different Multi-effects can be used in a Performance.
Select which of these three Multi-effects to use with Part Output
MFX Select. With this parameter, the same Multi-effects are applied
to all selected Parts. You can adjust the amount of effect to be
applied to the Parts by adjusting their Send Levels to each of the
effect units.
The Send Level setting for each Tone can also influence effect
intensity.
Furthermore, you can take the Multi-effects you have applied to a
Patch in a Part and apply them to the entire Performance, or just part
of the Performance.
Basic Process of Making Effects
Settings
When applying effects in Performance mode, the following
procedure is used to make the settings.
1.
Setting the Output Method Used by the Direct Sound (Output
Assign)
Settings determining whether or not the signal passes through
the Multi-effects, the jack used to output the sound, and the type
of output (stereo or mono) for each Part. You can also settings
for a Patch or Rhythm Set assigned to a Part. -> (p. 73)
2.
Setting the Amount of Each Effect Applied (Send Level)
Sets the level (volume) of each effect signal to be sent for each
Part. -> (p. 73)
3.
Making Multi-Effects Settings
Select the type of Multi-effects to be used, and set the parameters
for the selected Multi-effect. You can also Multi-effects settings
for a Patch or Rhythm Set assigned to a Part. -> (pp. 74–101)
4.
Setting the Multi-Effects Controller
When using MIDI messages to change the Multi-effects
parameters in realtime, select the Multi-effects controller. -> (p.
74)
5.
Setting the Output Destination and Volume for the Sounds
Passing Through the Multi-Effects
Select the output jack and set the output level (volume) of the
sounds passing through the Multi-effects. You can also apply
Chorus or Reverb to the sound that passes through Multi-effects.
-> (p. 74)
6.
Making Chorus Settings
Select the Chorus type to be used, and set each of the parameters
for the selected Chorus. -> (p. 74, p. 102)
7.
Setting the Output Destination and Volume for the Sounds
Passing Through the Chorus
Select the output jack and set the output level (volume) of the
sounds passing through the Chorus. You can also apply Reverb
to the sound that passes through Chorus. -> (p. 74)
8.
Making Reverb Settings
elect the Reverb type to be used, and set each of the parameters
for the selected Reverb. -> (p. 74, p. 103)
9.
Setting the Output Destination and Volume for the Sounds
Passing Through the Reverb
Select the output jack and set the output level (volume) of the
sounds passing through the Reverb. -> (p. 74)
Audio Signal Flow
The audio path of direct sounds or sounds that have been passed through the effects in Performance mode is shown in the figure below.
fig.3-02
A
B
CHO
PART
OUTPUT A
OUTPUT B
REV
Output Assign
M-FX
Output Assign
Chorus
Output Assign
Reverb
Output Assign
M-FX A
M-FX B
M-FX C
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Chapter 4 Using the XV-5050 Effects
Chapter 4
Setting Procedure
Here, set the way the direct sound is output and the amount of each
effect to be applied. The settings made here determine whether or
not the signal passes through the Multi-effects, the jack used to
output the sound, and the type of output (stereo or mono).
1.
Choose the Performance Set you wish to use.
2.
Press [EDIT] to make its indicator light.
3.
Press [ CURSOR] a few times to move the cursor to the
parameter group in the upper line of the display.
4.
Turn [VALUE] to choose “EFFECTS.”
5.
Press [CURSOR ] to move the cursor to the parameter.
6.
Turn [VALUE] to choose the parameter you want to set.
7.
Press [ PART]/[PART ] to choose the Part for which
you want to make settings.
8.
Press [CURSOR ] to move the cursor to the value.
9.
Turn [VALUE] to select the desired setting.
10.
Press [EXIT] to return to the PERFORM PLAY screen.
A “*” symbol appears at the left of the Performance name,
indicating that its settings have been changed.
If you turn off the power or choose another Performance while
the “*” symbol is displayed, your new Performance settings will
be lost. If you wish to preserve them, save the changed
Performance using the Write operation. (p. 104)
•When outputting in mono, the Pan setting is disabled.
•Chorus and Reverb are output in mono at all times.
•When the settings are such that signals are split and output from
the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, and no plug is
inserted in the INDIVIDUAL 2 jack, the sounds from
INDIVIDUAL 1 and INDIVIDUAL 2 are mixed together, then
output from the INDIVIDUAL 1 jack. This sound comprises the
sounds from the INDIVIDUAL 1 and 2 jacks.
If the Mix/Parallel parameter (SYSTEM:GENERAL) is set to
MIX, all sounds are output from the OUTPUT A (MIX) jacks in
stereo (p. 107).
When the Output Assign parameter is set to PATCH, the output
level settings for the Patch or Rhythm Set as well as the Part go
into effect. If you want the various level settings of the Patch/
Rhythm Set to be reflected as they are, set the various Part levels
to 127 (maximum).
For more on how to set each effect, refer to the pages shown
below.
•Multi-effects -> (p. 74, pp. 75–101)
•Chorus -> (p. 74, p. 102)
•Reverb -> (p. 74, p. 103)
Parameter
ValueDescription
EFFECTS
Output Asgn
Part Output AssignMFX, OUTPUT A/B,
INDIV 1–4, PATCH
Sets the direct sound’s output method for each Part.
MFX:
Output in stereo through Multi-effects. You can also apply Chorus or Reverb to the sound that
passes through Multi-effects.
OUTPUT A/B:
Output to the OUTPUT A (MIX)/B jacks in stereo without passing through Multi-ef-
fects.
INDIV 1–4:
Output to the INDIVIDUAL 1–4 jack in mono without passing through Multi-effects.
PATCH:
The Part’s output destination is determined by the settings of the Patch or Rhythm Set as-
signed to the Part.
Output Level
Part Output Level0–127Sets the direct sound’s volume for each Part.
Chorus SendPart Chorus Send Level0–127Adjusts the amount of Chorus for each Part. If you don’t want to add the Chorus effect, set
it to 0.
Reverb SendPart Reverb Send Level0–127Adjusts the amount of Reverb for each Part. If you don’t want to add the Reverb effect, set
it to 0.
Output SelectPart Output MFX SelectMFX-A–CSelects which of the three Multi-effects is to be used.
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Chapter 4 Using the XV-5050 Effects
Multi-Effects Settings
Chorus Settings
Reverb Settings
Parameter
ValueDescription
EFFECTS MFX
Source
Multi-Effects SourcePERFORM, PART 1–16Selects the Multi-effects parameter settings that will be used by the Performance. If you
wish to use the Performance settings, select PERFORM. If you wish to use the settings of
the Patch/Rhythm Set assigned to one of the Parts, select the Part number.
TypeMulti-Effects Type00 (THROUGH) –90Use this parameter to select from among the 90 available Multi-effects.
*For details on Multi-effects parameters, refer to “Multi-Effects Parameters” (p. 75).
Ctrl Src 1–4Multi-Effects Control
Source 1–4
OFF, CC01–31, CC33–95,
BEND, AFTER, SYS1–4
Selects the Control Source to be used for changing the Multi-effects parameters.
Ctrl Dest 1–4Multi-Effects Control
Destination 1–4
Refer to “Multi-Effects
Parameters” (p. 75).
Selects the Multi-effects parameter to be controlled using Ctrl Src 1–4. The parameters
that can be selected depend on which type of Multi-effects is set to MFX Type.
Ctrl Sens 1–4Multi-Effects Control
Sensitivity 1–4
-63– +63If you wish to modify the selected parameter in a positive (+) direction—i.e., a higher val-
ue, toward the right, or faster, etc.—from its current setting, select a positive (+) value. If
you wish to modify the selected parameter in a negative (-) direction—i.e., a lower value,
toward the left, or slower, etc.—from its current setting, select a negative (-) value. Higher
numbers produce a greater amount of change.
Output AsgnMulti-Effects Output
Assign
OUTPUT A/BAdjusts the output destination of the sound that has passed through the Multi-effects.
OUTPUT A:
Output to the OUTPUT A (MIX) jacks in stereo.
OUTPUT B:
Output to the OUTPUT B jacks in stereo.
Output Dry
Send
Multi-Effects Dry
Send Level
0–127Adjusts the volume of the sound that has passed through the Multi-effects.
Output Cho
Send
Multi-Effects Chorus
Send Level
0–127Adjusts the amount of Chorus for the sound that passes through Multi-effects. If you
don’t want to add the Chorus effect, set it to 0.
Output Rev
Send
Multi-Effects Reverb
Send Level
0–127Adjusts the amount of Reverb for the sound that passes through Multi-effects. If you
don’t want to add the Reverb effect, set it to 0.
ParameterValueDescription
EFFECTS CHO
Source
Chorus SourcePERFORM, PART 1–16Selects the Chorus parameter settings that will be used by the Performance. If you wish
to use the Performance settings, select PERFORM. If you wish to use the settings of the
Patch/Rhythm Set assigned to one of the Parts, select the Part number.
TypeChorus TypeOFF, CHORUS, DELAY,
GM2 CHORUS
Selects either Chorus or Delay.
*For details on Chorus parameters, refer to “Chorus Parameters” (p. 102).
Output AsgnChorus Output AssignOUTPUT A/BSelects the pair of OUTPUT jacks to which the Chorus sound is routed when Chorus
Output Select is set to MAIN or MAIN+REV.
OUTPUT A:
Output to the OUTPUT A (MIX) jacks in stereo.
OUTPUT B:
Output to the OUTPUT B jacks in stereo.
Level
Chorus Level0–127Adjusts the volume of the sound that has passed through chorus.
Out SelectChorus Output SelectMAIN, REV,
MAIN+REV
Specifies how the sound routed through Chorus will be output.
MAIN:
Output to the OUTPUT jacks in stereo.
REV:
Output to Reverb in mono.
MAIN+REV:
Output to the OUTPUT jacks in stereo, and to Reverb in mono.
Parameter
ValueDescription
EFFECTS REV
Source
Reverb SourcePERFORM, PART 1–16Selects the Reverb parameter settings that will be used by the Performance. If you
wish to use the Performance settings, select PERFORM. If you wish to use the settings
of the Patch/Rhythm Set assigned to one of the Parts, select the Part number.
TypeReverb TypeOFF, REVERB, SRV ROOM,
SRV HALL, SRV PLATE,
GM2 REVERB
Selects the type of Reverb.
*For details on Reverb parameters, refer to “Reverb Parameters” (p. 103).
Output AsgnReverb Output AssignOUTPUT A/BSpecifies how the sound routed through Reverb will be output.
OUTPUT A:
Output to the OUTPUT A (MIX) jacks in stereo.
OUTPUT B:
Output to the OUTPUT B jacks in stereo.
Level
Reverb Level0–127Adjusts the volume of the sound that has passed through Reverb.
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Chapter 4 Using the XV-5050 Effects
Chapter 4
Multi-Effects Parameters
The multi-effects feature 90 different kinds of effects. Some of the
effects consist of two or more different effects connected in series or
in parallel.
Parameters marked with a sharp “#” can be simultaneously
controlled using the selected controller.
1:STEREO EQ
◆
(p. 76)
2:OVERDRIVE
◆
(p. 76)
3:DISTORTION
◆
(p. 76)
4:PHASER
◆
(p. 76)
5:SPECTRUM
◆
(p. 76)
6:ENHANCER
◆
(p. 76)
7:AUTO WAH
◆
(p. 77)
8:ROTARY
◆
(p. 77)
9:COMPRESSOR
◆
(p. 77)
10:LIMITER
◆
(p. 77)
11:HEXA-CHORUS
◆
(p. 78)
12:TREMOLO CHO
◆
(p. 78)
13:SPACE-D
◆
(p. 78)
14:St CHORUS
◆
(p. 78)
15:St FLANGER
◆
(p. 79)
16:STEP FLANGER
◆
(p. 79)
17:St DELAY
◆
(p. 79)
18:MOD DELAY
◆
(p. 80)
19:3 TAP DELAY
◆
(p. 80)
20:4 TAP DELAY
◆
(p. 80)
21:TM CTRL DLY
◆
(p. 81)
22:2V PCH SHIFT
◆
(p. 81)
23:FB PCH SHIFT
◆
(p. 81)
24:REVERB(p. 81)
25:GATED REVERB(p. 82)
26:OD -> CHORUS
◆
(p. 82)
27:OD -> FLANGER
◆
(p. 82)
28:OD -> DELAY
◆
(p. 82)
29:DIST -> CHORUS
◆
(p. 83)
30:DIST -> FLANGER
◆
(p. 83)
31:DIST -> DELAY
◆
(p. 83)
32:ENH -> CHORUS
◆
(p. 83)
33:ENH -> FLANGER
◆
(p. 83)
34:ENH -> DELAY
◆
(p. 83)
35:CHORUS -> DELAY
◆
(p. 84)
36:FLG -> DELAY
◆
(p. 84)
37:CHO -> FLANGER
◆
(p. 84)
38:CHORUS/DELAY
◆
(p. 84)
39:FLG/DELAY
◆
(p. 84)
40:CHO/FLANGER
◆
(p. 85)
41:St PHASER
◆
(p. 85)
42:KEYSYNC FLG(p. 85)
43:FORMANT FLTR(p. 86)
44:RING MOD
◆
(p. 86)
45:MLT TAP DLY
◆
(p. 86)
46:REVERSE DLY(p. 86)
47:SHUFFLE DLY(p. 87)
48:3D DELAY(p. 87)
49:3V PCH SHIFT(p. 87)
50:LOFI COMP(p. 88)
51:LOFI NOISE(p. 88)
52:SPEAKER SIM
◆
(p. 88)
53:OVERDRIVE 2
◆
(p. 88)
54:DISTORTION 2
◆
(p. 89)
55:STEREO COMP
◆
(p. 89)
56:St LIMITER
◆
(p. 89)
57:GATE
◆
(p. 89)
58:SLICER
◆
(p. 90)
59:ISOLATOR(p. 90)
60:3D CHORUS(p. 90)
61:3D FLANGER(p. 91)
62:TREMOLO
◆
(p. 91)
63:AUTO PAN
◆
(p. 91)
64:St PHASER 2(p. 91)
65:St AUTO WAH(p. 92)
66:St FORMN FLT(p. 92)
67:MLT TAP DLY2(p. 92)
68:REVERSE DLY2(p. 92)
69:SHUFFLE DLY2(p. 93)
70:3D DELAY 2(p. 93)
71:ROTARY 2(p. 93)
72:ROTARY MULTI(p. 94)
73:KEYBD MULTI(p. 94)
74:RHODES MULTI(p. 95)
75:JD MULTI(p. 95)
76:St LOFI COMP(p. 96)
77:St LOFI NOIZ(p. 96)
78:GTR AMP SIM(p. 97)
79:STEREO OD(p. 97)
80:STEREO DIST(p. 97)
81:GTR MULTI A(p. 98)
82:GTR MULTI B(p. 98)
83:GTR MULTI C(p. 99)
84:CL GTR MLT A(p. 99)
85:CL GTR MLT B(p. 100)
86:BASS MULTI(p. 100)
87:ISOLATOR 2(p. 101)
88:St SPECTRUM(p. 101)
89:3D AUTO SPIN(p. 101)
90:3D MANUAL(p. 101)
If a multi-effect marked by a “
◆
” symbol is selected as the MFX-A
multi-effect in Performance mode, three types (MFX-A–MFX-C) of
multi-effect can be used simultaneously. Only multi-effects marked
by this symbol can be selected for MFX-B and MFX-C.
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Chapter 4 Using the XV-5050 Effects
1: STEREO EQ (Stereo Equalizer)
This is a four-band stereo equalizer (low, mid x 2, high).
fig.02-001m
2: OVERDRIVE
Creates a soft distortion similar to that produced by vacuum tube
amplifiers.
fig.02-002m
3: DISTORTION
Produces a more intense distortion than Overdrive. The parameters
are the same as for “2: OVERDRIVE.”
fig.02-003m
4: PHASER
Adds a phase-shifted sound to the original sound, producing a
swirling modulation that creates spaciousness and depth.
fig.02-004m
5: SPECTRUM
This is a type of filter that modifies the timbre by boosting or cutting
the level of specific frequencies. It is similar to an equalizer, but has
eight frequency points fixed at locations most useful for adding
character to the sound.
fig.02-005m
6: ENHANCER
Controls the overtone structure of the high frequencies, adding
sparkle and brightness to the sound.
fig.02-006m
Parameter
ValueDescription
Low Freq
200, 400 HzFrequency of the low range
Low Gain-15-+15 dBGain of the low frequency range
Mid1 Freq200-8000 HzFrequency of Middle Range 1
Mid1 Gain-15-+15 dBGain of Middle Range 1
Mid1 Q0.5, 1.0, 2.0, 4.0,
8.0
Width of Middle Range 1
Select a higher Q value to narrow
Middle Range 1.
Mid2 Freq
200-8000 HzFrequency of Middle Range 2
Mid2 Gain-15-+15 dBGain of Middle Range 2
Mid2 Q0.5, 1.0, 2.0, 4.0,
8.0
Width of Middle Range 2
Select a higher Q value to narrow
Middle Range 2.
High Freq
2000, 4000, 8000
Hz
Frequency of the high range
High Gain-15-+15 dBGain of the high frequency range
Level #0-127Output level
Parameter
ValueDescription
Drive #0-127Amount of distortion
Also changes the volume.
Amp TypeSMALL,
BUILT-IN,
2-STACK,
3-STACK
Type of guitar amp
SMALL:
small amp
BUILT-IN:
single-unit type amp
2-STACK:
large double-stack amp
3-STACK:
large triple-stack amp
Low Gain
-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Level0-127Output level
Pan #L64-63RStereo location of the OVERDRIVE
output
L in
R in
L out
R out
4-Band EQ
4-Band EQ
Amp
Simulator
2-Band
EQ
L in
R in
Over
drive
L out
R out
Pan R
Pan L
L in
R in
L out
R out
Pan R
Pan L
Amp
Simulator
2-Band
EQ
Distortion
Parameter
ValueDescription
Manual #
100-8000 HzAdjusts the basic frequency at which
the sound will be modulated.
Rate #0.05-10.00 HzFrequency of modulation
Depth0-127Depth of modulation
Resonance0-127Amount of feedback
Mix Level0-127Level of the phase-shifted sound
Level0-127Output Level
PanL64-63RStereo location of the PHASER output
Parameter
ValueDescription
250Hz Gain
-15-+15 dBGain of each frequency band
500Hz Gain
1000Hz Gain
1250Hz Gain
2000Hz Gain
3150Hz Gain
4000Hz Gain
8000Hz Gain
Band Width Q0.5, 1.0, 2.0, 4.0,
8.0
Simultaneously adjusts the width
of the adjusted ranges for all of the
frequency bands.
Level #0-127Output level
Pan #L64-63RStereo location of the SPECTRUM
output
Parameter
ValueDescription
Sens #
0-127Sensitivity of the enhancer
Mix #0-127Level of the overtones generated by the
enhancer
Low Gain-15-+15 dBGain of the low frequency range of fre-
quencies
High Gain-15-+15 dBGain of the high frequency range of fre-
quencies
Level0-127Output level
Phaser
Resonance
Mix
L in
R in
L out
R out
Pan R
Pan L
Spectrum
L out
R out
Pan R
Pan L
L in
R in
L in
R in
L out
R out
Mix
Mix
Enhancer
Enhancer
2-Band
EQ
2-Band
EQ
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Chapter 4 Using the XV-5050 Effects
Chapter 4
7: AUTO WAH
A filter that turns on and off to create a cyclical change in timbre.
fig.02-007m
8: ROTARY
The Rotary effect simulates the sound of the rotary speakers often
used with the classic electric organs. Since the movement of the high-
range and low-range rotors can be set independently, the unique
characteristics of these speakers can be simulated quite accurately.
This effect is most suitable for electric organ Patches.
fig.02-008m
9: COMPRESSOR
Flattens out high levels and boosts low levels, smoothing out
fluctuations in volume.
fig.02-009m
10: LIMITER
Compresses signals that exceed a specified volume level, preventing
distortion from occurring.
fig.02-010m
Parameter
ValueDescription
Filter Type
LPF, BPFType of filter
LPF:
The wah effect is applied over a
wide frequency range.
BPF:
The wah effect is applied over a
narrow frequency range
Sens
0-127Adjusts the sensitivity with which
the filter is controlled.
Manual #0-127Adjusts the center frequency at
which the effect is applied.
Peak0-127Adjusts the amount of the wah effect
that occurs in the range of the center
frequency.
Set a higher value for Q to narrow the
range to be affected.
Rate #
0.05-10.00 HzFrequency of modulation
Depth0-127Depth of modulation
Level0-127Output level
Parameter
ValueDescription
Speed #
SLOW, FASTSimultaneously switches the ro-
tational speed of the low fre-
quency rotor and high frequency
rotor.
SLOW:
Slows down the speed to
the Slow Rate.
FAST:
Speeds up the speed to the
Fast Rate.
Low Slow
0.05-10.00 HzSlow speed (SLOW) of the low-
frequency rotor
Low Fast0.05-10.00 HzFast speed (FAST) of the low-fre-
quency rotor
Low Accel0-15Adjusts the time it takes the low
frequency rotor to reach the new-
ly selected speed when switch-
ing between fast and slow
speeds. Lower values result in
longer transitions.
Low Level0-127Volume of the low frequency ro-
tor
High Slow0.05-10.00 HzSettings for the high-frequency
rotor
The parameters are the same as for
the low-frequency rotor
High Fast0.05-10.00 Hz
High Accel0-15
High Level0-127
Separation0-127Stereo width of the sound
Level #0-127Output level
Auto Wah
L out
R out
L in
R in
L out
R out
L in
R in
Rotary
Parameter
ValueDescription
Attack
0-127Sets the speed at which compression
starts
Sustain0-127Sets the duration of the compression.
Post Gain0, +6, +12, +18 dBAdjusts the output gain.
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Level #0-127Output level
Pan #L64-63RStereo location of the COMPRES-
SOR output
Parameter
ValueDescription
Threshold0-127Adjusts the volume at which com-
pression begins
Ratio1.5:1, 2:1, 4:1, 100:1Compression ratio
Release0-127Adjusts the time after the signal
volume falls below the Threshold
Level until compression is no long-
er applied.
Post Gain0, +6, +12, +18 dBAdjusts the output gain.
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Level #0-127Output level
Pan #L64-63RStereo location of the LIMITER
output
L in
R in
L out
R out
Pan R
Pan L
Compressor
2-Band
EQ
L in
R in
L out
R out
Pan R
Pan L
Limiter
2-Band
EQ
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Chapter 4 Using the XV-5050 Effects
11: HEXA-CHORUS
Uses a six-phase chorus (six layers of chorused sound) to give
richness and spaciousness to the sound.
fig.02-011m
12: TREMOLO CHO (Tremolo Chorus)
This is a chorus effect with added Tremolo (cyclic modulation of
volume).
fig.02-012m
13: SPACE-D
This is a multiple chorus that applies two-phase modulation in
stereo. It creates no audible modulation, yet produces a transparent
chorus effect.
fig.02-013m
14: St CHORUS (Stereo Chorus)
This is a stereo chorus. A filter is provided so that you can adjust the
timbre of the chorused sound.
fig.02-014m
Parameter
ValueDescription
Rate #
0.05-10.00 HzFrequency of modulation
Depth0-127Depth of modulation
Depth Deviation-20-+20Adjusts the difference in modula-
tion depth between each chorus
layer.
Pre Delay0.0-100.0 msAdjusts the time until chorusing
is heard.
Delay Deviation0-20Adjusts the differences in Pre De-
lay between each chorus layer.
Pan Deviation0-20Adjusts the difference in stereo lo-
cation between each chorus layer.
0:
All chorus layers are in the center.
20:
The chorus layers are spaced at
60-degree intervals relative to the
center.
Balance #D100:0W-
D0:100W
Volume balance between the di-
rect sound (D) and the chorus
sound (W)
Level0-127Output level
Parameter
ValueDescription
Cho Rate
0.05-10.00 HzModulation frequency of the
chorus effect
Chorus Depth0-127Modulation depth of the cho-
rus effect
Pre Delay0.0-100.0 msAdjusts the time until the cho-
rus sound is heard.
Treml Rate #0.05-10.00 HzModulation frequency of the
tremolo effect
Phase0-180 degDepth of the tremolo effect
Treml Separation0-127Spread of the tremolo effect
Balance #D100:0W-
D0:100W
Volume balance between the
direct sound (D) and the trem-
olo chorus sound (W)
Level0-127Output level
Balance W
Balance W
L in
R in
L out
R out
Hexa Chorus
Balance D
Balance D
Tremolo Chorus
L in
R in
L out
R out
Balance D
Balance D
Balance W
Balance W
Parameter
ValueDescription
Cho Rate #
0.05-10.00 HzFrequency of modulation
Cho Depth0-127Depth of modulation
Cho Phase0-180 degSpatial spread of the sound
Pre Delay0.0-100.0 msAdjusts the time until the chorus
sound is heard.
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the chorus sound (W)
Level0-127Output level
Parameter
ValueDescription
Rate #0.05-10.00 HzFrequency of modulation
Depth0-127Depth of modulation
Phase0-180 degSpatial spread of the sound
Pre Delay0.0-100.0 msAdjusts the time until the chorus
sound is heard.
Filter TypeOFF, LPF,
HPF
Type of filter
OFF:
no filter is used
LPF:
cuts the frequency range above the
Cutoff Freq
HPF:
cuts the frequency range below the
Cutoff Freq
Cutoff Freq
200-8000 HzBasic frequency of the filter
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the chorus sound (W)
Level0-127Output level
L in
R in
Space D
Space D
L out
R out
2-Band
EQ
2-Band
EQ
Balance W
Balance W
Balance D
Balance D
L in
R in
Chorus
Chorus
L out
R out
2-Band
EQ
2-Band
EQ
Balance W
Balance W
Balance D
Balance D
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Chapter 4 Using the XV-5050 Effects
Chapter 4
15: St FLANGER (Stereo Flanger)
This is a stereo flanger. (The LFO has the same phase for left and
right.) It produces a metallic resonance that rises and falls somewhat
like a jet airplane taking off or landing. A filter is provided so that
you can adjust the timbre of the flanged sound.
fig.02-015m
16: STEP FLANGER
This is a flanger in which the flanger pitch changes in steps. The
speed at which the pitch changes can also be specified in terms of a
note value based on a specified tempo.
fig.02-016m
17: St DELAY (Stereo Delay)
This is a stereo delay.
When Mode is NORMAL:
fig.02-017am
When Mode is CROSS:
fig.02-017bm
Parameter
ValueDescription
Rate #
0.05-10.00 HzFrequency of modulation
Depth
0-127Depth of modulation
Feedback #
-98-+98 %Adjusts the amount of the flanger sound
that’s fed back into the effect. Negative (-)
settings invert the phase.
Phase
0-180 degSpatial spread of the sound
Pre Delay
0.0-100.0 msAdjusts the time until the flanger sound is
heard.
Filter Type
OFF, LPF, HPFType of filter
OFF:
no filter is used
LPF:
cuts the frequency range above the
Cutoff Freq
HPF:
cuts the frequency range below the
Cutoff Freq
Cutoff Freq
200-8000 HzBasic frequency of the filter
Low Gain
-15-+15 dBGain of the low frequency range
High Gain
-15-+15 dBGain of the high frequency range
Balance
D100:0W-
D0:100W
Volume balance between the direct sound
(D) and the flanger sound (W)
Level
0-127Output level
Parameter
ValueDescription
Rate
0.05-10.00 HzFrequency of modulation
Depth
0–127Depth of modulation
Feedback #
-98-+98 %Adjusts the amount of the flanger sound
that’s fed back into the effect. Negative (-)
settings invert the phase.
Phase
0-180 degSpatial spread of the sound
Pre Delay
0.0-100.0 msAdjusts the time until the flanger sound is
heard.
Step Rate #
0.10-20.00 Hz,
note *1
Rate (period) of pitch change
Low Gain
-15-+15 dBGain of the low frequency range
High Gain
-15-+15 dBGain of the high frequency range
Balance
D100:0W-
D0:100W
Volume balance between the direct sound
(D) and the flanger sound (W)
Level
0-127Output level
R in
R out
L in
L out
Flanger
Feedback
Feedback
Flanger
Balance W
Balance D
Balance W
Balance D
2-Band
EQ
2-Band
EQ
R in
R out
L in
L out
Feedback
Feedback
Balance W
Balance D
Balance W
Balance D
2-Band
EQ
2-Band
EQ
Step Flanger
Step Flanger
Parameter
ValueDescription
Delay L
0.0-500.0 msAdjusts the time until the delay
sound is heard.
Delay R
Feedback #-98-+98 %Adjusts the amount of the delay
sound that’s fed back into the effect.
Negative (-) settings invert the
phase.
ModeNORMAL,
CROSS
Selects the way in which delay
sound is fed back into the effect. (See
the figures above.)
HF Damp200-8000 Hz,
BYPASS
Adjusts the frequency above which
sound fed back to the effect is fil-
tered out. If you don’t want to filter
out any high frequencies, set this pa-
rameter to BYPASS.
Phase LNORMAL,
INVERT
Phase of the delay sound
Phase R
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the delay sound (W)
Level0-127Output level
R in
R out
L in
L out
Feedback
Feedback
Balance W
Balance D
Balance W
Balance D
2-Band
EQ
2-Band
EQ
Delay
Delay
R in
R out
L in
L out
Feedback
Feedback
Balance W
Balance D
Balance W
Balance D
2-Band
EQ
2-Band
EQ
Delay
Delay
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80
Chapter 4 Using the XV-5050 Effects
18: MOD DELAY (Modulation Delay)
Adds modulation to the delayed sound, producing an effect similar
to a flanger.
When Mode is NORMAL:
fig.02-018am
When Mode is CROSS:
fig.02-018bm
19: 3 TAP DELAY (Triple Tap Delay)
Produces three delay sounds; center, left and right.
fig.02-019m
20: 4 TAP DELAY
(Quadruple Tap Delay)
This effect has four delays.
fig.02-020am
fig.02-020bm
Stereo location of each delay
Parameter
ValueDescription
Delay Left
0.0-500.0 msAdjusts the time until the delay sound
is heard.
Delay Right
Feedback-98-+98 %Adjusts the amount of the delay sound
that’s fed back into the effect. Negative
(-) settings invert the phase.
ModeNORMAL,
CROSS
Selects the way in which delay sound
is fed back into the effect (See the fig-
ures above.)
HF Damp200-8000 Hz,
BYPASS
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you don’t want to filter out any
high frequencies, set this parameter to
BYPASS.
Rate #0.05-10.00 HzFrequency of modulation
Depth0-127Depth of modulation
Phase0-180 degSpatial spread of the sound
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the delay sound (W)
Level0-127Output level
R inR out
L inL out
Feedback
Feedback
Balance W
Balance D
Balance W
Balance D
2-Band
EQ
2-Band
EQ
Delay
Delay
Modulation
Modulation
R in
R out
L in
L out
Feedback
Feedback
Balance W
Balance D
Balance W
Balance D
2-Band
EQ
2-Band
EQ
Delay
Delay
Modulation
Modulation
Parameter
ValueDescription
Delay C
200-1000
ms, note *1
Adjusts the time until the delay sound is
heard.
Delay L
Delay R
Feedback #-98-+98 %
Adjusts the amount of the delay sound that’s
fed back into the effect. Negative (-) settings
invert the phase.
HF Damp
200-8000
Hz, BYPASS
Adjusts the frequency above which sound
fed back to the effect is filtered out. If you do
not want to filter out any high frequencies,
set this parameter to BYPASS.
Delay C Level0-127
Volume of each delay
Delay L Level
Delay R Level
Low Gain-15-+15 dB
Gain of the low frequency range
High Gain
-15-+15 dB
Gain of the high frequency range
Balance #
D100:0W-
D0:100W
Volume balance between the direct sound
(D) and the delay sound (W)
Level
0-127
Output level
Parameter
ValueDescription
Delay 1
200-1000
ms, note *1
Adjusts the time until the delay sound is
heard.
Delay 2
Delay 3
Delay 4
Feedback #-98-+98 %
Adjusts the amount of the delay sound that’s
fed back into the effect. Negative (-) settings
invert the phase.
HF Damp
200-8000
Hz, BYPASS
Adjusts the frequency above which sound
fed back to the effect is filtered out. If you do
not want to filter out any high frequencies,
set this parameter to BYPASS.
Delay Level 1
0-127
Volume of each delay
Delay Level 2
Delay Level 3
Delay Level 4
Balance #D100:0W-
D0:100W
Volume balance between the direct sound
(D) and the delay sound (W)
Level0-127
Output level
L in
R in
L out
R out
Left Tap
Right Tap
Triple Tap Delay
2-Band
EQ
2-Band
EQ
Balance W
Balance D
Balance W
Balance D
Feedback
Center Tap
L in
R in
L out
R out
Quadruple Tap Delay
Balance W
Balance D
Balance W
Balance D
Delay 1
Delay 2
Delay 3
Delay 4
Feedback
1
23
4
L
R
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81
Chapter 4 Using the XV-5050 Effects
Chapter 4
21: TM CTRL DLY (Time Control Delay)
This effect allows you to use a specified controller — the controller
selected in EFX Control Source — to control the delay time and pitch
in realtime. Lengthening the delay lowers the pitch, and shortening
it raises the pitch.
fig.02-021m
22: 2V PCH SHIFT
(2-Voice Pitch Shifter)
Shifts the pitch of the original sound. This 2-voice pitch shifter has
two pitch shifters, and can add two pitch-shifted versions of the
original sound.
fig.02-022m
23: FB PCH SHIFT
(Feedback Pitch Shifter)
This allows the pitch-shifted sound to be fed back into the effect.
fig.02-023m
24: REVERB
Adds reverberation to the sound, simulating an acoustic space.
fig.02-024m
Parameter
ValueDescription
Delay #
200-1000 ms
Adjusts the time until the delay is heard.
Acceleration
0-15
Adjusts the time over which the Delay
Time changes from the current setting to
a specified new setting.
The rate of change for the Delay Time
directly affects the rate of pitch change.
Feedback #
-98-+98 %
Adjusts the amount of the delay that’s
fed back into the effect. Negative (-) set-
tings invert the phase.
HF Damp200-8000 Hz,
BYPASS
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you do not want to filter out any
high frequencies, set this parameter to
BYPASS.
Low Gain
-15-+15 dB
Gain of the low frequency range
High Gain
-15-+15 dB
Gain of the high frequency range
Balance
D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the delay sound (W)
Level
0-127
Output level
Pan
L64-63R
Stereo location of the delay
Parameter
ValueDescription
Coarse A #1
-24-+12 semi
Adjusts the pitch of Pitch Shift A in
semitone steps.
Fine A #1
-100-+100 cent
Adjusts the pitch of Pitch Shift A in 2-
cent steps.
Pre Dly A
0.0-500 ms
Adjusts the time until Pitch Shift A is
heard.
Pan AL64-63R
Stereo location of Pitch Shift A
Coarse B #2-24-+12 semi
Settings for Pitch Shift B
The parameters are the same as for
Pitch Shift A.
Fine B #2
-100-+100 cent
Pre Dly B0.0-500.0 ms
Pan BL64-63R
Mode1, 2, 3, 4, 5
Setting a higher value for this parame-
ter results in a slower response, but
steadier pitch.
Level BalA100:0B-
A0:100B
Volume balance between Pitch Shift A
and Pitch Shift B
Balance
D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the pitch shifted sound
(W)
Level0-127
Output level
L in
R in
L out
R out
2-Band
EQ
Balance W
Balance W
Balance D
Balance D
2-Band
EQ
Feedback
Time Control Delay
L in
R in
L out
R out
2Voice Pitch Shifter
Level Balance A
Balance W
Balance D
Balance W
Balance D
Level Balance B
PanB R
PanA L
PanA R
PanB L
Parameter
ValueDescription
Coarse #1
-24-+12 semiAdjusts the pitch of the pitch-shifted
sound in semitone steps.
Fine #1-100-+100 centAdjusts the pitch of the pitch-shifted
sound in 2-cent steps.
Pre Delay0.0-500.0 msAdjusts the time until the pitch shift-
ed sound is heard.
Mode1, 2, 3, 4, 5Setting a higher value for this pa-
rameter results in a slower response,
but steadier pitch.
Feedback #-98-+98 %Adjusts the amount of the pitch-
shifted sound that’s fed back into the
effect. Negative (-) settings invert the
phase.
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
BalanceD100:0W-
D0:100W
Volume balance between the direct
sound (D) and the pitch-shifted
sound (W)
Level0-127Output level
PanL64-63RStereo location of the pitch-shifted
sound
Parameter
ValueDescription
Type
ROOM1,
ROOM2,
STAGE1,
STAGE2,
HALL1,
HALL2
Type of reverb
ROOM1:
dense reverb with short decay
ROOM2:
sparse reverb with short decay
STAGE1
: reverb with fewer early reflec-
tions
STAGE2:
reverb with strong early reflec-
tions
HALL1:
clear reverb
HALL2:
rich reverb
Pre Delay
0.0-100.0 msAdjusts the time until the reverb is
heard.
Time #0-127Duration of reverberation
HF Damp200-8000
Hz, BYPASS
Adjusts the frequency above which the
reverb is reduced in level.
As the frequency is set lower, more of the
high frequencies are cut, resulting in a softer
and more muted reverb. If you don’t want
to cut any high frequencies, set this param-
eter to BYPASS.
Low Gain
-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the reverb sound (W)
Level0-127Output level
L in
R in
L out
R out
2-Band
EQ
Balance W
Balance W
Balance D
Balance D
2-Band
EQ
Feedback
Pitch Shifter
L in
R in
L out
R out
Reverb
2-Band
EQ
Balance W
Balance W
Balance D
Balance D
2-Band
EQ
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Chapter 4 Using the XV-5050 Effects
25: GATED REVERB
This is a special type of reverb in which the reverb is cut off without
being allowed to decay naturally.
fig.02-025m
26: OD -> CHORUS
fig.02-026m
27: OD -> FLANGER
fig.02-027m
28: OD -> DELAY
fig.02-028m
Parameter
ValueDescription
Type
NORMAL,
REVERSE,
SWEEP1,
SWEEP2
Type of reverb
NORMAL:
conventional gated reverb
REVERSE:
backwards reverb
SWEEP1:
the reverb moves from right
to left
SWEEP2:
the reverb moves from left to
right
Pre Delay
0.0-100.0 msAdjusts the time until the reverb
sound is heard.
Gate Time5-500 msAdjusts the time from when the re-
verb is first heard until it disappears.
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the reverb sound (W)
Level #0-127Output level
Parameter
ValueDescription
OD Drive0-127Degree of distortion
Also changes the volume.
OD Pan #
L64-63RStereo location of the overdrive
Cho Rate0.05-10.00 HzFrequency of modulation
Cho Depth0-127Depth of modulation
Cho Delay0.0-100.0 msAdjusts the time until the chorus
sound is heard.
Cho Balance #D100:0W-
D0:100W
Adjusts the volume balance be-
tween the sound sent through
the chorus (W) and the sound
that’s not sent through the cho-
rus (D).
Level0-127Output level
L in
R in
L out
R out
Gate Reverb
2-Band
EQ
Balance W
Balance W
Balance D
Balance D
2-Band
EQ
L in
R in
Chorus
Overdrive
L out
R out
Balance W
Balance W
Balance D
Balance D
Parameter
ValueDescription
OD Drive
0-127Degree of distortion
Also changes the volume.
OD Pan #
L64-63RStereo location of the overdrive
Flg Rate0.05-10.00 HzFrequency of modulation
Flg Depth0-127Depth of modulation
Flg Feedback-98-+98 %Adjusts the amount of the
flanger sound that’s fed back
into the effect. Negative (-) set-
tings invert the phase.
Flg Delay0.0-100.0 msAdjusts the time until the flanger
is heard.
Flg Balance #D100:0W-
D0:100W
Adjusts the volume balance be-
tween the sound sent through
the flanger (W) and the sound
that’s not sent through the
flanger (D).
Level0-127Output level
Parameter
ValueDescription
OD Drive
0-127Degree of distortion
Also changes the volume.
OD Pan #L64-63RStereo location of the overdrive
Delay Time0.0-500.0 msAdjusts the time until the delay is
heard.
Dly Feedback-98-+98 %Adjusts the amount of the delay
sound that’s fed back into the ef-
fect. Negative (-) settings invert the
phase.
Dly HF Damp200-8000 Hz,
BYPASS
Adjusts the frequency above
which sound fed back to the effect
is filtered out. If you don’t want to
filter out any high frequencies, set
this parameter to BYPASS.
Dly Balance #D100:0W-
D0:100W
Adjusts the volume balance be-
tween the sound sent through the
delay (W) and the sound that’s not
sent through the delay (D).
Level0-127Output level
L in
R in
Flanger
Overdrive
L out
R out
Balance W
Balance W
Balance D
Balance D
Feedback
L in
R in
Delay
Overdrive
L out
R out
Balance W
Balance W
Balance D
Balance D
Feedback
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83
Chapter 4 Using the XV-5050 Effects
Chapter 4
29: DIST -> CHORUS
The parameters are essentially the same as in “26: OD -> CHORUS,”
with the exception of the following two.
OD Drive -> Dist Drive, OD Pan -> Dist Pan
fig.02-029m
30: DIST -> FLANGER
The parameters are essentially the same as in “27: OD ->
FLANGER,” with the exception of the following two.
OD Drive -> Dist Drive, OD Pan -> Dist Pan
fig.02-030m
31: DIST -> DELAY
The parameters are essentially the same as in “28: OD -> DELAY,”
with the exception of the following two.
OD Drive -> Dist Drive, OD Pan -> Dist Pan
fig.02-031m
32: ENH -> CHORUS
fig.02-032m
33: ENH -> FLANGER
fig.02-033m
34: ENH -> DELAY
fig.02-034m
Parameter
ValueDescription
Enhancer Sens #
0-127Sensitivity of the enhancer
Enhancer Mix0-127Level of the overtones generated
by the enhancer
Cho Rate0.05-10.00 HzFrequency of modulation
Cho Depth0-127Depth of modulation
Cho Delay0.0-100.0 msAdjusts the time until the chorus
is heard.
Cho Balance #D100:0W-
D0:100W
Adjusts the volume balance be-
tween the sound sent through
the chorus (W) and the sound
that’s not sent through the cho-
rus (D).
Level0-127Output level
L in
R in
Chorus
Distortion
L out
R out
Balance W
Balance W
Balance D
Balance D
L in
R in
Flanger
Distortion
L out
R out
Balance W
Balance W
Balance D
Balance D
Feedback
L in
R in
Delay
Distortion
L out
R out
Balance W
Balance W
Balance D
Balance D
Feedback
Chorus
L in
R in
L out
R out
Mix
Mix
Enhancer
Enhancer
Balance W
Balance W
Balance D
Balance D
Parameter
ValueDescription
Enhancer Sens #
0-127Sensitivity of the enhancer
Enhancer Mix0-127Level of the overtones generated
by the enhancer
Flg Rate0.05-10.00 HzFrequency of modulation
Flg Depth0-127Depth of modulation
Flg Feedback-98-+98 %Adjusts the amount of the
flanger sound that’s fed back
into the effect. Negative (-) set-
tings invert the phase.
Flg Delay0.0-100.0 msAdjusts the time until the flanger
is heard.
Flg Balance #D100:0W-
D0:100W
Adjusts the volume balance be-
tween the sound sent through
the flanger (W) and the sound
that’s not sent through the
flanger (D).
Level0-127Output level
Parameter
ValueDescription
Enhancer Sens #
0-127Sensitivity of the enhancer
Enhancer Mix0-127Level of the overtones generat-
ed by the enhancer
Delay Time0.0-500.0 msAdjusts the time until the delay
is heard.
Dly Feedback-98-+98 %Adjusts the amount of the de-
lay sound that’s fed back into
the effect. Negative (-) settings
will invert the phase.
Dly HF Damp200-8000 Hz,
BYPASS
Adjusts the frequency above
which sound fed back to the ef-
fect is filtered out. If you don’t
want to filter out any high fre-
quencies, set this parameter to
BYPASS.
Dly Balance #D100:0W-
D0:100W
Adjusts the volume balance be-
tween the sound sent through
the delay (W) and the sound
that’s not sent through the de-
lay (D).
Level0-127Output level
Feedback
Flanger
L in
R in
L out
R out
Mix
Mix
Enhancer
Enhancer
Balance W
Balance W
Balance D
Balance D
Feedback
Delay
L in
R in
L out
R out
Mix
Mix
Enhancer
Enhancer
Balance W
Balance W
Balance D
Balance D
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84
Chapter 4 Using the XV-5050 Effects
35: CHORUS -> DELAY
fig.02-035m
36: FLG -> DELAY
fig.02-036m
37: CHO -> FLANGER
fig.02-037m
38: CHORUS/DELAY
The parameters are the same as for “35: CHORUS -> DELAY.”
However, the Delay Balance parameter adjusts the volume balance
between the direct sound and the delay sound.
fig.02-038m
39: FLG/DELAY
The parameters are the same as for “36: FLG -> DELAY.” However,
the Delay Balance parameter adjusts the volume balance between the
direct sound and the delay sound.
fig.02-039m
Parameter
ValueDescription
Cho Rate
0.05-10.00 HzFrequency of modulation
Cho Depth0-127Depth of modulation
Cho Delay0.0-100.0 msAdjusts the time until the cho-
rus is heard.
Cho Balance #D100:0W-
D0:100W
Volume balance between the
direct sound (D) and the cho-
rus sound (W)
Delay Time0.0-500.0 msAdjusts the time until the delay
is heard.
Dly Feedback-98-+98 %Adjusts the amount of the de-
lay sound that’s fed back into
the effect. Negative (-) settings
invert the phase.
Dly HF Damp200-8000 Hz,
BYPASS
Adjusts the frequency above
which sound fed back to the ef-
fect is filtered out. If you do not
want to filter out any the high
frequencies, set this parameter
to BYPASS.
Dly Balance #D100:0W-
D0:100W
Adjusts the volume balance be-
tween the sound sent through
the delay (W) and the sound
that’s not sent through the de-
lay (D).
Level0-127Output level
Parameter
ValueDescription
Flg Rate
0.05-10.00 HzFrequency of modulation
Flg Depth0-127Depth of modulation
Flg Feedback-98-+98 %Adjusts the amount of the flanger
sound that’s fed back into the ef-
fect. Negative (-) settings invert the
phase.
Flg Delay0.0-100.0 msAdjusts the time until the flanger is
heard.
Flg Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the flanger sound
(W)
Delay Time0.0-500.0 msAdjusts the time until the delay
sound is heard.
Dly Feedback-98-+98 %Adjusts the amount of the delay
sound that’s fed back into the ef-
fect. Negative (-) settings invert the
phase.
Dly HF Damp200-8000 Hz,
BYPASS
Adjusts the frequency above
which sound fed back to the effect
is filtered out. If you do not want to
filter out any high frequencies, set
this parameter to BYPASS.
Dly Balance #D100:0W-
D0:100W
Adjusts the volume balance be-
tween the sound sent through the
delay (W) and the sound that’s not
sent through the delay (D).
Level0-127Output level
Feedback
Delay
L in
R in
L out
R out
Balance W
Balance W
Balance D
Balance D
Chorus
Balance W
Balance W
Balance D
Balance D
Feedback
Delay
L in
R in
L out
R out
Balance W
Balance W
Balance D
Balance D
Flanger
Balance W
Balance W
Balance D
Balance D
Feedback
Parameter
ValueDescription
Cho Delay
0.0-100.0 msAdjusts the time until the chorus is
heard.
Cho Rate0.05-10.00 HzModulation frequency of the chorus
effect
Cho Depth0-127Modulation depth of the chorus effect
Cho Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the chorus sound (W)
Flg Rate0.05-10.00 HzModulation frequency of the flanger
effect
Flg Depth0-127Modulation depth of the flanger effect
Flg Feedback-98-+98 %Adjusts the amount of the flanger
sound that’s fed back into the effect.
Negative (-) settings invert the phase.
Flg Delay0.0-100.0 msAdjusts the time until the flanger
sound is heard.
Flg Balance #D100:0W-
D0:100W
Adjusts the volume balance between
the sound sent through the flanger (W)
and the sound that’s not sent through
the flanger (D).
Level0-127Output level
Feedback
Flanger
L in
R in
L out
R out
Balance W
Balance W
Balance D
Balance D
Chorus
Balance W
Balance W
Balance D
Balance D
R inR out
L inL out
Feedback
Balance W
Balance D
Balance W
Balance D
Chorus
Delay
R inR out
L inL out
Feedback
Feedback
Balance W
Balance D
Balance W
Balance D
Flanger
Delay
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85
Chapter 4 Using the XV-5050 Effects
Chapter 4
40: CHO/FLANGER
The parameters are the same as for “37: CHO -> FLANGER.”
However, the Flanger Balance parameter adjusts the volume balance
between the direct sound and the flanger sound.
fig.02-040m
41: St PHASER (Stereo Phaser)
This is a stereo phaser. With the Step effects, you can also make
stepped changes in the pitch of sounds to which the Phaser effect is
applied.
fig.02-041m
42: KEYSYNC FLG (Keysync Flanger)
This effect controls the Flanger by resetting the effect at the volume
of the sound sent into to the effect, restarting from the same pitch
each time the Flanger is reset.
This parameter lets your playing dynamics on the keyboard control
the flanger effect.
fig.02-042m
Parameter
ValueDescription
Type1, 2Type of phaser
Type 2 adds more of the phaser effect
to the high frequencies than Type 1.
Mode4-STAGE,
8-STAGE
Number of stages in the phaser
PolarityINVERSE,
SYNCHRO
Selects whether the left and right
phase of the modulation are the same
or opposite each other.
INVERSE:
The left and right phase are
opposite. When using a mono source, this
spreads the sound in stereo.
SYNCHRO:
The left and right phase are
the same. Select this when working with a
stereo source.
Manual #
0-127Adjusts the basic frequency from
which the sound is modulated.
Rate #0.05-10.00 Hz,
note *2
Frequency of modulation
Depth0-127Depth of modulation
Resonance0-127Amount of feedback
X-Feedback-98-+98 %Adjusts the amount of the phaser
sound that’s fed back into the effect.
Negative (-) settings invert the phase.
Mix0-127Level of the phase-shifted sound
Step SwitchOFF, ONDetermines whether the pitch is
changed in a stepped fashion (ON) or
not (OFF).
Step Rate #0.10-20.00 Hz,
note *2
Rate (period) of pitch change
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Level0-127Output level
R inR out
L inL out
Feedback
Balance W
Balance D
Balance W
Balance D
Chorus
Flanger
R in
R out
L in
L out
Phaser
Mix
2-Band
EQ
Phaser
2-Band
EQ
Mix
Parameter
ValueDescription
LFO Rate #
0.05-10.00 Hz,
note *2
Frequency of modulation
LFO Depth0-127Depth of modulation
Feedback #-98-+98 %Adjusts the amount of the flanger
sound that’s fed back into the effect.
Negative (-) settings invert the
phase.
Phase0-180 degSpatial spread of the sound
Pre Delay0.0-100 msAdjusts the time until the flanger is
heard.
Filter TypeOFF, LPF, HPFType of filter
OFF:
no filter is used
LPF:
cuts the frequency range above
the Cutoff Freq
HPF:
cuts the frequency range below
the Cutoff Freq
Cutoff Freq
200-8000 HzBasic frequency of the filter
Step SwOFF, ONDetermines whether the pitch is
changed in a stepped fashion (ON)
or not (OFF).
Step Rate #0.10-20.00 Hz,
note *2
Rate (period) of pitch change
KeysyncOFF, ONDetermines whether the Flanger
LFO is reset by the input signal (ON)
or not (OFF).
Threshold0-127Adjusts the volume level at which
the reset is applied.
Ksync Phase0-360 degLFO phase when the LFO is reset
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the flanger sound (W)
Level0-127Output level
R in
R out
L in
L out
Flanger
Feedback
Feedback
Flanger
2-Band
EQ
2-Band
EQ
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Chapter 4 Using the XV-5050 Effects
43: FORMANT FLTR (Formant Filter)
Adds a vowel character to the sound, making it similar to a human
voice.
fig.02-043m
44: RING MOD (Ring Modulator)
This is an effect that applies amplitude modulation (AM) to the input
signal, producing bell-like sounds. You can also change the
modulation frequency in response to changes in the volume of the
sound sent into the effect.
fig.02-044m
45: MLT TAP DLY (Multi Tap Delay)
This effect provides four delays. Each of the Delay Time parameters
can be set to a note length based on the selected tempo. You can also
set the panning and level of each delay sound.
fig.02-045m
46: REVERSE DLY (Reverse Delay)
Adds the reverse of the input sound as a delay.
fig.02-046m
Parameter
ValueDescription
Drive Switch
OFF, ONTurns Drive on/off.
Drive #0-127Degree of distortion
Also changes the volume.
Vowel1
a, e, i, o, uSelects the vowel.
Vowel2
Rate #0.05-10.00 Hz,
note *2
Frequency at which the two
vowels switch
Depth #0-127Effect depth
Manual #0-100Adjusts the point at which the
two vowels switch.
When set to 50, Vowels 1 and 2
switch in the same amount of
time. Setting this lower than 50
increases the time for Vowel 1;
setting this higher than 50 de-
creases the time for Vowel 1.
KeysyncOFF, ONDetermines whether the LFO
for switching the vowels is re-
set by the input signal (ON) or
not (OFF).
Threshold0-127Volume level at which reset is
applied
Low Gain-15-+15 dBGain of the low frequency
range
High Gain-15-+15 dBGain of the high frequency
range
Level0-127Output level
PanL64-63RStereo location of the output
ParameterValueDescription
Frequency #
0-127Adjusts the frequency at which modula-
tion is applied.
ModulatorOFF,
SOURCE,
A, B
Selects the source sound for the envelope
controlling the modulation.
SOURCE:
The frequency is modulated ac-
cording to the envelope of the sound sent into
the multi-effects
A, B:
The frequency is modulated according
to the envelope of the direct sound sent to the
OUTPUT A or OUTPUT B jacks
Monitor
OFF, ONDetermines whether the input signal used
as the modulator is included in the effect
output (ON) or not (OFF).
*This parameter is disabled when Mod-
ulator is set to OFF or SOURCE.
Sens #0-127Adjusts the amount of frequency modula-
tion applied.
PolarityUP,
DOWN
Determines whether the frequency modu-
lation moves towards higher frequencies
(UP) or lower frequencies (DOWN).
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct sound
(D) and the effect sound (W)
Level0-127Output level
Formant
2-Band
EQ
L in
R in
Overdrive
L out
R out
Pan R
Pan L
L in
R in
L out
R out
Ring Mod
2-Band EQ
2-Band EQ
Ring Mod
Parameter
ValueDescription
Delay 1-4
0-1800 ms,
note *2
Adjusts the time until Delays 1-4 are
heard.
Feedback #-98-+98 %Adjusts the amount of the delay
sound that’s fed back into the effect.
Negative (-) settings invert the
phase.
HF Damp200-8000 Hz,
BYPASS
Adjusts the frequency above which
sound fed back to the effect is fil-
tered out. If you don’t want to filter
out any the high frequencies, set this
parameter to BYPASS.
Delay Level 1-40-127Output level of Delays 1-4
Delay Pan 1-4L64-63RStereo location of Delays 1-4
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the effect sound (W)
Level0-127Output level
Parameter
ValueDescription
Delay 1-4
0-900 ms,
note *2
Adjusts the time until Delays 1-4
are heard.
Feedback 1 #-98-+98 %Adjusts the amount of the delay
sound that’s fed back into the ef-
fect. Negative (-) settings invert the
phase.
Feedback 4 #
HF Damp 1200-8000 Hz,
BYPASS
Adjusts the frequency above
which sound fed back to the effect
is filtered out. If you do not want to
filter out any high frequencies, set
this parameter to BYPASS.
HF Damp 4
Delay Level 1-30-127Output level of Delays 1-3 sound
Delay Pan 1-3L64-63RStereo location of Delays 1-3 sound
Threshold0-127Volume level at which the reverse
delay begins
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the effect sound (W)
Level0-127Output level
L in
R in
L out
R out
Multi Tap Delay
Balance W
Balance D
Balance W
Balance D
Delay 1
Delay 3
Delay 4
Delay 2
Feed
back
2-Band
EQ
2-Band
EQ
Feedback 1
L in
R in
Rev. Delay
L out
R out
2-Band
EQ
2-Band
EQ
1
2
D1
Delay
3
D3
D2
D4
Feedback 4
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Chapter 4 Using the XV-5050 Effects
Chapter 4
47: SHUFFLE DLY (Shuffle Delay)
Adds a shuffle to the delay sound, giving the sound a bouncy delay
effect with a swing feel.
fig.02-047m
48: 3D DELAY
This applies a 3D effect to the delay sound. The delay sound is
positioned 90 degrees left and 90 degrees right.
fig.02-048m
49: 3V PCH SHIFT
(3-Voice Pitch Shifter)
This 3-voice pitch shifter has three pitch shifters, and can add three
pitch-shifted signals to the original sound.
fig.02-049m
Parameter
ValueDescription
Delay #
0-1800 ms,
note *2
Adjusts the time until the delay
sound is heard.
Shuffle Rate #0-100 %Adjusts the ratio (as a percentage) of
the time that elapses before Delay B
sounds relative to the time that
elapses before the Delay A sounds.
When set to 100%, the delay times
are the same.
Acceleration0-15Adjusts the time over which the De-
lay Time changes from the current
setting to its specified new setting.
Feedback #-98-+98 %Adjusts the amount of the delay
that’s fed back into the effect. Nega-
tive (-) settings invert the phase.
HF Damp200-8000 Hz,
BYPASS
Adjusts the frequency above which
sound fed back to the effect is fil-
tered out. If you don’t want to filter
out any high frequencies, set this pa-
rameter to BYPASS.
Pan AL64-63RStereo location of Delay A
Pan BL64-63RStereo location of Delay B
Level BalA100:0B-
A0:100B
Volume balance between Delay A
and Delay B
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the effect sound (W)
Level0-127Output level
Parameter
ValueDescription
Delay C
0-1800 ms,
note *2
Adjusts the time until the delay is
heard.
Delay L
Delay R
Feedback #-98-+98 %Adjusts the amount of the delay
that’s fed back into the effect. Nega-
tive (-) settings invert the phase.
HF Damp200-8000
Hz, BYPASS
Adjusts the frequency above which
sound fed back to the effect is fil-
tered out. If you don’t want to filter
out any high frequencies, set this pa-
rameter to BYPASS.
Feedback
L in
R in
Delay
L out
R out
2-Band
EQ
2-Band
EQ
A
B
Delay A
Delay B
L
R
3D Delay L
3D Delay R
3D Delay C
Level
2-Band
EQ
2-Band
EQ
L out
R out
Level C
0-127Output level of the delay sound
Level L
Level R
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the effect sound (W)
Output ModeSPEAKER,
PHONES
Selects the method by which the ef-
fect is sent to the OUTPUT jacks.
The optimal 3D effect is achieved if you
select SPEAKER when using speakers,
or PHONES when using headphones.
Level
0-127Output level
ParameterValueDescription
Coarse 1 #1
-24-+12 semiAdjusts the pitch of Pitch Shift 1 in
semitone steps.
Fine 1 #1-100-+100 centAdjusts the pitch of Pitch Shift 1 in 2-
cent steps.
Feedback 1 #-98-+98 %Adjusts the amount of the Pitch Shift
1 sound that’s fed back into the ef-
fect. Negative (-) settings invert the
phase.
Pre Dly 10.0-500.0 msAdjusts the time until Pitch Shift 1 is
heard.
Level 10-127Output level of Pitch Shift 1
Pan 1L64-63RStereo location of Pitch Shift 1
Coarse 2 #2-24-+12 semi-
tone
Settings of the Pitch Shift 2
The parameters are the same as for
Pitch Shift 1.
Fine 2 #2-100-+100 cent
Feedback 2 #-98-+98 %
Pre Dly 20.0-500 ms
Level 20-127
Pan 2L64-63R
Coarse 3 #3-24-+12 semi-
tone
Settings of Pitch Shift 3
Fine 3 #3-100-+100 centThe parameters are the same as for
Pitch Shift 1.
Feedback 3 #-98-+98 %
Pre Dly 30.0-500 ms
Level 30-127
Pan 3L64-63R
Mode1, 2, 3, 4, 5Setting a higher value for this pa-
rameter results in a slower response,
but steadier pitch.
BalanceD100:0W-
D0:100W
Volume balance between the direct
sound (D) and the effect sound (W)
Level0-127Output level
Parameter
ValueDescription
L
R
Pitch 1
Pitch 3
Pitch 2
L out
R out
1
2
3
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88
Chapter 4 Using the XV-5050 Effects
50: LOFI COMP (Lo-Fi Compress)
This is an effect that intentionally degrades the sound quality for
creative purposes.
fig.02-050m
51: LOFI NOISE (Lo-Fi Noise)
In addition to a Lo-Fi effect, this effect also generates various types
of noise, such as radio noise and disc noise.
fig.02-051m
52: SPEAKER SIM (Speaker Simulator)
Simulates speaker types and mic settings used to capture the
speaker’s sound.
fig.02-052m
Specifications for each Speaker Type
The speaker column indicates the diameter of each speaker unit (in
inches) and the number of units.
53: OVERDRIVE 2
This is an overdrive that provides heavy distortion.
fig.02-053m
Parameter
ValueDescription
LoFi Type1-9Degrades the sound quality. The
sound quality grows poorer as this
value is increased.
Pre Filter1-6Selects the type of filter applied to
the sound before it passes through
the Lo-Fi effect.
Post Filter 11-6Adjusts the type of filter applied to
the sound after it passes through
the Lo-Fi effect.
Post Filter 2OFF, LPF,
HPF
Type of filter
OFF:
no filter is used
LPF:
cuts the frequency range above
the Cutoff
HPF:
cuts the frequency range below
the Cutoff
Post Cutoff
200-8000 HzBasic frequency of the filter
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the effect sound (W)
Level0-127Output level
PanL64-63RStereo location of the output
Parameter
ValueDescription
LoFi Type
1-9
Degrades the sound quality. The
sound quality grows poorer as this
value is increased.
Post Flter Type
OFF, LPF,
HPF
Type of filter
OFF:
no filter is used
LPF:
cuts the frequency range
above the Cutoff
HPF:
cuts the frequency range be-
low the Cutoff
Cutoff Freq
200-8000 Hz
Basic frequency of the filter
Radio Detune #0-127
Simulates the tuning noise of a ra-
dio. As this value is raised, the tun-
ing drifts further.
Radio N Level
0-127
Volume of the radio noise
Disc Noise Type
LP, EP, SP,
RND
Type of record noise
The frequency at which the noise is
heard depends on the selected
type.
Disc N LPF
200-8000 Hz,
BYPASS
Adjusts the cutoff frequency of the
low pass filter applied to the record
noise. If you don’t want to filter out
any high frequencies, set this param-
eter to BYPASS.
Disc N Level
0-127
Volume of the record noise
Low Gain
-15-+15 dB
Gain of the low frequency range
High Gain
-15-+15 dB
Gain of the high frequency range
Balance #
D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the effect sound (W)
Level
0-127
Output level
Pan
L64-63R
Stereo location of the output
Lo-Fi
2-Band
EQ
L in
R in
L out
R out
Pan R
Pan L
Lo-Fi
Radio
Noise Gen.
L in
R in
L out
R out
Pan R
Pan L
2-Band
EQ
Parameter
ValueDescription
Type
(See the table
below.)
Type of speaker
Mic Setting1, 2, 3Adjusts the location of the mic cap-
turing the sound of the speaker.
This can be adjusted in three steps, from
1 to 3 with the mic becoming more dis-
tant as the value is raised.
Mic Level #
0-127Volume of the microphone
Direct Level #0-127Volume of the direct sound
Level #0-127Output level
Type
CabinetSpeakerMicro-
phone
SMALL 1
small open-back enclosure10dynamic
SMALL 2small open-back enclosure10dynamic
MIDDLEopen back enclosure12 x 1dynamic
JC-120open back enclosure12 x 2dynamic
BUILT IN 1open back enclosure12 x 2dynamic
BUILT IN 2open back enclosure12 x 2condenser
BUILT IN 3open back enclosure12 x 2condenser
BUILT IN 4open back enclosure12 x 2condenser
BUILT IN 5open back enclosure12 x 2condenser
BG STACK 1sealed enclosure12 x 2condenser
BG STACK 2large sealed enclosure12 x 2condenser
MS STACK 1large sealed enclosure12 x 4condenser
MS STACK 2large sealed enclosure12 x 4condenser
METAL
STACK
large double stack12 x 4condenser
2-STACKlarge double stack12 x 4condenser
3-STACKlarge triple stack12 x 4condenser
Parameter
ValueDescription
Drive #
0-127Degree of distortion
Also changes the volume.
Tone
0-127Sound quality of the Overdrive effect
Amp Simulator
Sw
OFF, ONTurns the Amp Simulator on/off.
Amp TypeSMALL,
BUILT-IN,
2-STACK,
3-STACK
Type of guitar amp
SMALL:
small amp
BUILT-IN:
single-unit type amp
2-STACK:
large double stack amp
3-STACK:
large triple stack amp
Low Gain
-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Level0-127Output level
Pan #L64-63RStereo location of the output
L in
R in
L out
R out
Speaker
Speaker
L in
R in
L out
R out
Pan R
Pan L
Amp
Simulator
2-Band
EQ
Overdrive
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89
Chapter 4 Using the XV-5050 Effects
Chapter 4
54: DISTORTION 2
This is a distortion effect that provides heavy distortion. The
parameters are the same as for “53: OVERDRIVE 2.”
fig.02-054m
55: STEREO COMP
(Stereo Compressor)
fig.02-055m
56: St LIMITER (Stereo Limiter)
fig.02-056m
57: GATE
Cuts the reverb’s delay according to the volume of the sound sent
into the effect. Use this when you want to create an artificial-
sounding decrease in the reverb’s decay.
fig.02-057m
Parameter
ValueDescription
Attack
0-127Sets the speed at which compression
starts
Sustain0-127Adjusts the duration of the compres-
sion.
Post Gain0, +6, +12,
+18 dB
Adjusts the output gain.
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Level #0-127Output level
Parameter
ValueDescription
Threshold
0-127Adjusts the volume at which com-
pression begins.
Ratio1.5:1, 2:1, 4:1,
100:1
Compression ratio
Release0-127Adjusts the time from when the
volume falls below the Threshold
Level until compression is no long-
er applied.
Post Gain0, +6, +12, +18
dB
Adjusts the output gain.
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Level #0-127Output level
L in
R in
L out
R out
Pan R
Pan L
Amp
Simulator
2-Band
EQ
Distortion
L in
R in
L out
R out
Compressor
2-Band EQ
2-Band EQ
Compressor
L in
R in
L out
R out
Limiter
2-Band EQ
2-Band EQ
Limiter
Parameter
ValueDescription
ModeGATE, DUCKType of gate
GATE (Gated Reverb):
When the source
volume falls below a certain level, the gate
closes, cutting off the tail of the reverb.
DUCK (Ducking Reverb):
When the
source volume gets high enough, the gate
closes, creating a ducking reverb-type ef-
fect. The reverb stops when the input sig-
nal becomes so loud that the sound
becomes unclear.
Attack0-127Adjusts the time it takes for the gate to
fully open after being triggered.
Hold0-127Adjusts the time it takes for the gate to
start closing after the source sound falls
beneath the Threshold.
Release0-127Adjusts the time it takes the gate to ful-
ly close after the hold time.
KeySOURCE, A, BSelects the source sound that acts as the
trigger for closing the gate.
SOURCE:
The gate is closed by the sound
sent into the Multi-effects.
A, B:
The gate is closed by the direct
sound sent to the OUTPUT A or OUTPUT
B jacks
Threshold
0-127Volume level at which the gate begins
to close
MonitorOFF, ONDetermines whether the sound used as
the gate trigger is included in the effect
output (ON) or not (OFF).
*This parameter is disabled when
Key is set to SOURCE.
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the effect sound (W)
Level0-127Output level
L in
R in
L out
R out
Gate
Gate
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90
Chapter 4 Using the XV-5050 Effects
58: SLICER
By applying successive cuts to the sound, this effect turns a
conventional sound into a sound that appears to be played as a
backing phrase. This is especially effective when applied to sustain-
type sounds.
fig.02-058m
59: ISOLATOR
This is an equalizer that radically cuts the volume of selected
frequencies, allowing you to create special effects cutting the volume
in various ranges.
fig.02-059m
60: 3D CHORUS
This applies 3D chorusing to a sound. The chorus is positioned 90
degrees left and 90 degrees right.
fig.02-060m
Parameter
ValueDescription
Level Beat 1-1–4-4
0-127For a single measure containing
four quarter notes, this sets the lev-
el of each sixteenth note when the
measure is divided into sixteenth
notes.
Rate #0.05-10.00 Hz,
note *2
Cycle for one measure
Attack0-127Speed at which the volume chang-
es between beats
Reset Trigger #OFF,
SOURCE, A, B
Selects the source sound that acts
as the trigger resetting the one-
measure pattern.
OFF:
The pattern is not reset, even if
the input signal is present.
SOURCE:
The pattern is reset by the
sound sent into the multi-effects.
A, B:
The pattern is reset by the direct
sound sent to the OUTPUT A or
OUTPUT B jacks.
*When Reset Trigger is selected
as the MFX Control parameter,
you can use an external MIDI
device to reset the pattern.
Reset Threshold0-127Volume level at which the reset be-
gins
Reset MonitorOFF, ONDetermines whether the sound
used as the reset trigger is included
in the effect output (ON) or not
(OFF).
*This parameter is disabled
when Reset Trigger is set to OFF
or SOURCE.
Beat Chg ModeLEGATO,
SLASH
Sets the manner in which the vol-
ume changes as one beat progress-
es to the next.
LEGATO:
The change in volume
from one beat’s level to the next re-
mains unaltered. If the level of a fol-
lowing beat is the same as the one
preceding it, there is no change in
volume.
SLASH:
The level is momentarily set
to 0 before progressing to the level of
the next beat. This change in volume
occurs even if the level of the follow-
ing beat is the same as the preceding
beat.
Shuffle #
0-127Timing of volume changes in lev-
els for even-numbered Beats (Beat
1-2/Beat 1-4/Beat 2-2/...).
The higher the value, the later the
beat progresses.
Level
0-127Output level
L in
R in
L out
R out
Slicer
Slicer
L in
R in
L out
R out
Isolator
Low Boost
Low Boost
Isolator
Parameter
ValueDescription
Low #-60-+4 dBThese boost and cut each of the
High, Middle, and Low frequen-
cy ranges.
At -60 dB, the sound becomes inau-
dible. 0 dB is equivalent to the in-
put level of the sound.
Mid #
High #
AntiPhase Low SwOFF, ONTurns the Anti-Phase function on
and off for the Low frequency
ranges.
When turned on, a stereo copy of
the sound is phase-inverted and
added to the signal.
AntiPhase LowLev
0-127Adjusts the level settings for the
Low frequency ranges.
Adjusting this level for certain fre-
quencies allows you to lend em-
phasis to specific elements within a
sound. (This is effective only for
stereo source.)
AntiPhase Mid Sw
OFF, ONSettings of the Anti-Phase func-
tion for the Middle frequency
ranges
The parameters are the same as for
the Low frequency ranges.
AntiPhase MidLev
0-127
Low Boost SwOFF, ONTurns Low Booster on/off.
This emphasizes the bottom fre-
quencies to create a heavy bass
sound.
Low Boost Level
0-127Increasing this value gives you a
heavier low end.
*Depending on the Isolator
and filter settings, this effect
may be hard to hear.
Level0-127Output level
Parameter
ValueDescription
LFO Rate #
0.05-10.00 Hz,
note *2
Frequency of modulation
LFO Depth0-127Modulation depth of the chorus ef-
fect
Phase0-180 degSpatial spread of the sound
Pre Delay0.0-100.0 msAdjusts the time until the chorus is
heard.
Filter TypeOFF, LPF,
HPF
Type of filter
OFF:
no filter is used
LPF:
cuts the frequency range above
the Cutoff Freq
HPF:
cuts the frequency range below
the Cutoff Freq
Cutoff Freq
200-8000 HzBasic frequency of the filter
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the chorus sound (W)
Output ModeSPEAKER,
PHONES
Selects the method by which the ef-
fect is sent to the OUTPUT jacks.
The optimal 3D effect is if you select
SPEAKER when using speakers, or
PHONES when using headphones.
Level
0-127Output level
L
R
3D Chorus
2-Band
EQ
2-Band
EQ
R out
L out
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91
Chapter 4 Using the XV-5050 Effects
Chapter 4
61: 3D FLANGER
This applies a 3D effect to the flanger sound. The flanger sound is
positioned 90 degrees left and 90 degrees right.
fig.02-061m
62: TREMOLO
Cyclically modulates the volume to add tremolo to the sound.
fig.02-062am
63: AUTO PAN
Cyclically modulates the stereo location of the sound.
fig.02-063am
64: St PHASER 2 (Stereo Phaser 2)
fig.02-064m
Parameter
ValueDescription
LFO Rate #
0.05-10.00 Hz,
note *2
Frequency of modulation
LFO Depth0-127Depth of modulation
Feedback #-98-+98 %Adjusts the amount of the flanger
sound that’s fed back into the effect.
Negative (-) settings invert the phase.
Phase0-180 degSpatial spread of the sound
Pre Delay0.0-100.0 msAdjusts the time until the flanger
sound is heard.
Filter TypeOFF, LPF,
HPF
Type of filter
OFF:
no filter is used
LPF:
cuts the frequency range above the
Cutoff Freq
HPF:
cuts the frequency range below the
Cutoff Freq
Cutoff Freq
200-8000 HzBasic frequency of the filter
Step SwOFF, ONDetermines whether the pitch is
changed in a stepped fashion (ON) or
not (OFF).
Step Rate #0.10-20.00 Hz,
note *2
Rate (period) of pitch change
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the flanger sound (W)
Output ModeSPEAKER,
PHONES
Select the method by which the effect
is sent to the OUTPUT jacks.
The optimal 3D effect is achieved if you
select SPEAKER when using speakers, or
PHONES when using headphones.
Level
0-127Output level
Parameter
ValueDescription
Mod Wave
TRI, SQR, SIN,
SAW1, SAW2
Modulation Wave
TRI:
triangle wave
SQR:
square wave
SIN:
sine wave
SAW1/2:
sawtooth wave
Rate #
0.05-10.00 Hz,
note *2
Frequency of the change
Depth #0-127Depth to which the effect is applied
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Level0-127Output level
L
R
3D Flanger
2-Band
EQ
2-Band
EQ
R out
L out
L in
R in
L out
R out
Tremolo
2-Band EQ
2-Band EQ
Tremolo
SAW1SAW2
Parameter
ValueDescription
Mod Wave
TRI, SQR,
SIN, SAW1,
SAW2
Modulation Wave
TRI:
triangle wave
SQR:
square wave
SIN:
sine wave
SAW1/2:
sawtooth wave
Rate #
0.05-10.00 Hz,
note *2
Frequency of the change
Depth #0-127Depth to which the effect is applied
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Level0-127Output level
Parameter
ValueDescription
Type
1, 2
Type of phaser
Type 2 adds more of the phaser effect to
the high frequencies than Type 1.
Mode
4-STAGE,
8-STAGE,
12-STAGE,
16-STAGE
Number of stages in the phaser
Polarity
INVERSE,
SYNCHRO
Selects whether the left and right phase of
the modulation are the same or opposite
each other.
INVERSE:
The left and right phase are
opposite. When using a mono source,
this spreads the sound.
SYNCHRO:
The left and right phase are
the same. Select this when inputting a
stereo source.
Manual #
0-127
Adjusts the basic frequency from which
the sound is modulated.
Rate #
0.05-10.00 Hz,
note *2
Frequency of modulation
Depth0-127
Depth of modulation
Resonance
0-127
Amount of feedback
X-Feedback
-98-+98 %
Adjusts the amount of the phaser sound
that’s fed back into the effect. Negative (-
) settings invert the phase.
Mix Level
0-127
Level of the phase-shifted sound
Step Sw
OFF, ON
Determines whether the pitch is changed
in a stepped fashion (ON) or not (OFF).
Step Rate #
0.10-20.00 Hz,
note *2
Rate (period) of pitch change
Low Gain
-15-+15 dB
Gain of the low frequency range
High Gain
-15-+15 dB
Gain of the high frequency range
Level
0-127
Output level
L in
R in
L out
R out
Auto Pan
2-Band EQ
2-Band EQ
Auto Pan
SAW1SAW2
L
R
L
R
R in
R out
L in
L out
Phaser
Mix
2-Band
EQ
Phaser
2-Band
EQ
Mix
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92
Chapter 4 Using the XV-5050 Effects
65: St AUTO WAH (Stereo Auto Wah)
fig.02-065m
66: ST FORMN FLT
(Stereo Formant Filter)
67: MLT TAP DLY2 (Multi Tap Delay 2)
This allows you to achieve longer delay times (max. 3000 ms) for the
Multi-Tap Delay function.
fig.02-067m
68: REVERSE DLY2 (Reverse Delay 2)
This allows you to achieve longer delay times (max. 1500 ms) for the
Reverse Delay function.
fig.02-068m
Parameter
ValueDescription
Filter TypeLPF, BPF
Type of filter
LPF:
The wah effect is applied over a
wide frequency range.
BPF:
The wah effect is applied over a nar-
row frequency range.
Sens #
0-127
Adjusts the sensitivity with which the fil-
ter is controlled.
Manual #0-127
Adjusts the center frequency at which the
effect is applied.
Peak
0-127
Adjusts the amount of the wah effect that
occurs in the center frequency range.
Set a higher value for Q to narrow the af-
fect range.
Rate #
0.05-10.00 Hz,
note *2
Frequency of modulation
Depth #
0-127
Depth of modulation
Polarity
UP, DOWN
Sets the direction in which the frequency
changes when the auto-wah filter is modu-
lated.
UP:
The filter changes toward a higher
frequency.
DOWN:
The filter changes toward a lower
frequency.
Phase #
0-180 deg
Adjusts the degree of phase shift of the left
and right sounds when the wah effect is
applied.
Low Gain
-15-+15 dB
Gain of the low frequency range
High Gain-15-+15 dB
Gain of the high frequency range
Level
0-127
Output level
Parameter
ValueDescription
Drive Sw
OFF, ON
Turns Drive on/off.
Drive #
0-127
Degree of distortion
Also changes the volume.
Vowel 1
a, e, i, o, u
Selects the vowel.
Vowel 2
Rate #0.05-10.00 Hz,
note *2
Frequency at which the two vowels
switch
Depth #
0-127
Effect depth
Manual #
0-100
Adjusts the point at which the two
vowels switch.
When set to 50, Vowels 1 and 2
switch in the same amount of time.
Setting this lower than 50 increases
the time for Vowel 1; setting this
higher than 50 decreases the time
for Vowel 1.
Phase #
0-180 deg
Adjusts the phase shift of the left
and right sounds when the two vow-
els are switched.
Keysync Sw
OFF, ON
Determines whether the LFO for
switching the vowels is reset accord-
ing to the input sound (ON) or not
(OFF).
Keysync Thresh
0-127
Volume level at which reset is ap-
plied
Low Gain
-15-+15 dB
Gain of the low frequency range
High Gain
-15-+15 dB
Gain of the high frequency range
Level0-127
Output level
L in
R in
L out
R out
Auto Wah
2-Band EQ
2-Band EQ
Auto Wah
L in
R in
L out
R out
2-Band EQ
2-Band EQ
Overdrive
Overdrive
Formant
Formant
Parameter
ValueDescription
Delay 1-4
0-3000 ms,
note *2
Adjusts the time until Delay 1-4s are
heard.
Feedback #-98-+98 %Adjusts the amount of the delay sound
that’s fed back into the effect. Negative
(-) settings invert the phase.
HF Damp200-8000 Hz,
BYPASS
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you don’t want to filter out any
high frequencies, set this parameter to
BYPASS.
Delay Level 1-40-127Output level of Delays 1-4
Delay Pan 1-4L64-63RStereo location of Delays 1-4
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the effect sound (W)
Level0-127Output level
Parameter
ValueDescription
Delay 1-4
0-1500 ms,
note *2
Adjusts the time until Delays 1-4 are
heard.
Feedback 1 #-98-+98 %Adjusts the amount of the delay sound
that’s fed back into the effect. Negative
(-) settings invert the phase.
Feedback 4 #
HF Damp 1200-8000
Hz, BYPASS
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you don’t want to filter out any
high frequencies, set this parameter to
BYPASS.
HF Damp 4
Delay Level 1-30-127Output level of Delays 1-3
Delay Pan 1-3L64-63RStereo location of Delays 1-3
Threshold0-127Volume level at which the reverse de-
lay begins
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the effect sound (W)
Level0-127Output level
L in
R in
L out
R out
Multi Tap Delay
Balance W
Balance D
Balance W
Balance D
Delay 1
Delay 3
Delay 4
Delay 2
Feed
back
2-Band
EQ
2-Band
EQ
Feedback 1
L in
R in
Rev. Delay
L out
R out
2-Band
EQ
2-Band
EQ
1
2
D1
Delay
3
D3
D2
D4
Feedback 4
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93
Chapter 4 Using the XV-5050 Effects
Chapter 4
69: SHUFFLE DLY2 (Shuffle Delay 2)
This allows you to achieve longer delay times (max. 3000 ms) for the
Shuffle Delay function.
fig.02-069m
70: 3D DELAY 2
This allows you to achieve longer delay times (max. 3000 ms) for the
3D Delay function.
fig.02-070m
71: ROTARY 2
This type provides for a second type of rotary speaker simulation,
with a low-end boost.
This effect features the same specifications as the VK-7’s built-in
rotary speaker.
fig.02-071m
Parameter
ValueDescription
Delay #
0-3000 ms,
note *2
Adjusts the time until the delay is
heard.
Shuffle Rate #0-100 %Sets the ratio (as a percentage) of the
time that elapses before Delay B
sounds relative to the time that elapses
before Delay A sounds. When set to
100%, the delay times are the same.
Acceleration0-15Adjusts the time over which the Delay
Time changes from the current setting
to a specified new setting.
Feedback #-98-+98 %Adjusts the amount of the delay sound
that’s fed back into the effect. Negative
(-) settings invert the phase.
HF Damp200-8000 Hz,
BYPASS
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you don’t want to filter out any
high frequencies, set this parameter to
BYPASS.
Pan A, BL64-63RStereo location of the Delays A and B
Level BalA100:0B-
A0:100B
Volume balance between Delay A and
Delay B
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the effect sound (W)
Level0-127Output level
Parameter
ValueDescription
Delay C
0-3000 ms,
note *2
Adjusts the time until the delay is
heard.
Delay L
Delay R
Feedback #-98-+98 %Adjusts the amount of the delay sound
that’s fed back into the effect. Negative
(-) settings invert the phase.
HF Damp200-8000
Hz, BYPASS
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you don’t want to filter out any
high frequencies, set this parameter to
BYPASS.
Level C0-127Output level of the delay sound
Level L
Level R
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Feedback
L in
R in
Delay
L out
R out
2-Band
EQ
2-Band
EQ
A
B
Delay A
Delay B
L
R
3D Delay L
3D Delay R
3D Delay C
Level
2-Band
EQ
2-Band
EQ
L out
R out
Balance #
D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the effect sound (W)
Output ModeSPEAKER,
PHONES
Select the method by which the effect
is sent to the OUTPUT jacks.
The optimal 3D effect is achieved if you
select SPEAKER when using speakers, or
PHONES when using headphones.
Level
0-127Output level
Parameter
ValueDescription
Speed #
SLOW, FASTRotational speed of the rotat-
ing speaker
Brake #OFF, ONSwitches the rotation of the
rotary speaker.
When this is turned off, the ro-
tation gradually stops. When
it’s turned on, the rotation
gradually resumes.
Spread
0-10Sets the rotary speaker stereo
image. The higher the value
set, the wider the stereo im-
age.
Low Slow0.05-10.00 Hz,
note *2
Low-speed rotation rate of
the woofer
Low Fast0.05-10.00 Hz,
note *2
High-speed rotation rate of
the woofer
Low Trans Up0-127Adjusts the rate at which the
woofer rotation speeds up
when the rotation is switched
from Slow to Fast.
Low Trans Down0-127Adjusts the rate at which the
woofer rotation when the ro-
tation is switched from Fast
to Slow.
Low Level0-127Volume of the woofer
High Slow0.05-10.00 Hz,
note *2
Settings for the tweeter
The parameters are the same as
for the woofer.
High Fast
0.05-10.00 Hz,
note *2
High Trans Up0-127
High Trans Down0-127
HIgh Level0-127
Low Gain-15-+15 dBGain of the low frequency
range
High Gain-15-+15 dBGain of the high frequency
range
Level #0-127Output level
Parameter
ValueDescription
L out
R out
L in
R in
Rotary
2-Band EQ
2-Band EQ
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94
Chapter 4 Using the XV-5050 Effects
72: ROTARY MULTI
fig.02-072m
73: KEYBD MULTI (Keyboard Multi)
*Ring Modulator is an effect that applies amplitude modulation (AM) to
the input signal, producing bell-like sounds.
Parameter
ValueDescription
OD/Dist
Switch
OFF, ONTurns the Overdrive/Distortion
on/off.
TypeOVERDRIVE,
DISTORTION
Selects either Overdrive or Distor-
tion.
Drive #0-127Degree of distortion
Also changes the volume.
Tone
0-127Sound quality of the Overdrive/
Distortion effect
Level0-127Volume of the Overdrive/Distor-
tion sound
Amp Simulator
Switch
OFF, ONTurns the Amp Simulator on/off.
TypeSMALL,
BUILT-IN,
2-STACK,
3-STACK
Type of guitar amp
SMALL:
small amp
BUILT-IN:
single-unit type amp
2-STACK:
large double stack amp
3-STACK:
large triple stack amp
3 Band EQ
Switch
OFF, ONTurns the 3 Band EQ on/off.
Low Gain-15-+15 dBGain of the low frequency range
Mid Freq200-8000 HzFrequency of the middle range
Mid Gain-15-+15 dBGain of the middle range
Mid Q0.5, 1.0, 2.0, 4.0,
8.0
Width of the middle range
Set a higher value for Q to narrow the
range to be affected.
High Gain
-15-+15 dBGain of the high frequency range
Rotary
Switch
OFF, ONTurns the Rotary on/off.
Speed #SLOW, FASTRotational speed of both the low-
range and the high-range rotors
Low Freq Slow0.05-10.00 Hz,
note *2
Speed of the low-range rotor for the
slow-speed setting
Low Freq Fast 0.05-10.00 Hz,
note *2
Speed of the low-range rotor for the
fast-speed setting
Low Freq Accel0-15Adjusts the time over which the ro-
tation speed of the low-range rotor
changes from slow-speed to fast-
speed (or fast-speed to slow-speed)
rotation. Lower values produce
longer times.
Low Freq Level0-127Volume of the low-range rotor
HIgh Freq Slow0.05-10.00 Hz,
note *2
Settings of the high-range rotor
The parameters are the same as for the
low-range rotor.
High Freq Fast
0.05-10.00 Hz,
note *2
High Freq Accel0-15
High Freq Level0-127
Separation0-127Spatial spread of the rotary sound
Output
Level
0-127Output level
PanL64-63RStereo location of the output
L out
Pan
R out
L in
R in
Overdrive/
Distortion
Rotary
3-Band EQ
Amp
Simulator
Parameter
ValueDescription
Ring Mod
SwitchOFF, ON
Turns the Ring Modulator on/off.
Freq #
0-127
Frequency at which modulation is applied
Bal #
D100:0W-
D0:100W
Volume balance between the direct sound
(D) and the ring modulated sound (W)
3 Band EQ
SwitchOFF, ON
Turns the 3 Band EQ on/off.
Low Gain
-15-+15 dB
Gain of the low frequency range
Mid Freq
200-8000 Hz
Frequency of the middle frequency range
Mid Gain
-15-+15 dB
Gain of the middle frequency range
Mid Q
0.5, 1.0, 2.0,
4.0, 8.0
Width of the middle frequency range
Set a higher value for Q to narrow the fre-
quency range to be affected.
High Gain
-15-+15 dB
Gain of the high frequency range
Pitch Shift
SwitchOFF, ON
Turns the Pitch Shifter on/off
Mode
1, 2, 3, 4, 5
Setting a higher value for this parameter
results in a slower response, but steadier
pitch.
Coarse #1
-24-+12 semi
Adjusts the pitch of the pitch-shifted
sound in semitone steps.
Fine #1
-100-+100 cent
Adjusts the pitch of the pitch-shifted
sound in 2-cent steps.
Dly0.0-500.0 ms
Adjusts the time until the pitch-shifted
sound is heard.
Feedback #
-98-+98 %
Adjusts the amount of the pitch-shifted
sound that’s fed back into the effect. Nega-
tive (-) settings invert the phase.
Balance
D100:0W-
D0:100W
Volume balance between the direct sound
(D) and the pitch shifted sound (W)
Phaser
Switch
OFF, ON
Turns the Phaser on/off.
Mode
4-STAGE,
8-STAGE
Number of stages in the phaser
Manual #
0-127
Adjusts the basic frequency from which
the sound is modulated.
Rate #0.05-10.00 Hz,
note *2
Frequency of modulation
Depth
0-127
Depth of modulation
Resonance
0-127
Amount of feedback
Mix0-127
Level of the phase-shifted sound
Delay
Switch
OFF, ON
Turns the Delay on/off.
Time L
0-3000 ms,
note *2
Adjusts the time until the delay is heard.
Time R
Feedback-98-+98 %
Adjusts the amount of the delay sound
that’s fed back into the effect. Negative (-)
settings invert the phase.
HF Damp
200-8000 Hz,
BYPASS
Adjusts the frequency above which sound
fed back to the effect is filtered out. If you
don’t want to filter out any high frequen-
cies, set this parameter to BYPASS.
Balance #
D100:0W-
D0:100W
Volume balance between the direct sound
(D) and the delay sound (W)
Output
Level
0-127
Output level
Feedback
Pitch
Shifter
L in
R in
Ring Mod
Ring Mod
3-Band EQ
3-Band EQ
Feedback
Delay
L o
R o
Resonance
Mix
Phaser
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95
Chapter 4 Using the XV-5050 Effects
Chapter 4
74: RHODES MULTI75: JD MULTI
This allows the Distortion (DS), Phaser (PH), Spectrum (SP), and
Enhancer (EH) effects to be connected in series in any desired order.
fig.02-075m
Parameter
ValueDescription
Enhancer
Switch
OFF, ON
Turns the Enhancer on/off.
Sens #
0-127
Sensitivity of the enhancer
Mix
0-127
Level of the overtones generated by
the enhancer
Phaser
Switch
OFF, ON
Turns the Phaser on/off.
Mode
4-STAGE, 8-STAGE
Number of stages in the phaser
Manual #
0-127
Adjusts the basic frequency from
which the sound is modulated.
Rate #
0.05-10.00 Hz, note *2
Frequency of modulation
Depth
0-127
Depth of modulation
Resonance
0-127
Amount of feedback
Mix
0-127
Level of the phase-shifted sound
Cho/Flg
Switch
OFF, ON
Turns the Chorus/Flanger on/off.
TypeCHORUS, FLANGER
Selects either Chorus or Flanger.
Rate
0.05-10.00 Hz, note *2
Frequency of modulation
Depth
0-127
Depth of modulation
Feedback
-98-+98 %
Adjusts the amount of the flanger
sound that is fed back into the effect.
Negative (-) settings invert the
phase.
Pre Dly0.0-100.0 ms
Adjusts the time until the chorus/
flanger is heard.
Filter Type
OFF, LPF, HPF
Type of filter
OFF:
no filter is used
LPF:
cuts the frequency range
above the Cutoff Freq
HPF:
cuts the frequency range
below the Cutoff Freq
Cutoff Freq
200-8000 Hz
Basic frequency of the filter
Balance #
D100:0W-D0:100W
Volume balance between the direct
sound (D) and the chorus/flanger
sound (W)
Tre/Pan
SwitchOFF, ON
Turns Tremolo/Pan on/off.
Type
TREMOLO, AUTO
PAN
Selects either Tremolo or Pan.
Mod Wave
TRI, SQR, SIN, SAW1,
SAW2
Modulation Wave
TRI:
triangle wave
SQR:
square wave
SIN:
sine wave
SAW1/2:
sawtooth wave
Rate #
0.05-10.00 Hz, note *2
Frequency of modulation
Depth #
0-127
Depth of modulation
Output
Level
0-127
Output level
Resonance
Phaser
L in
R in
Mix
Mix
Mix
Enhancer
Enhancer
R out
L out
Chorus/
Flanger
Chorus/
Flanger
Feedback
Tremolo/
Pan
Tremolo/
Pan
SAW1SAW2
(L)
(R)
(L)
(R)
Parameter
ValueDescription
Sequence
DS-PH-SP-EN
:
EN-SP-PH-DS
Order in which effects are con-
nected
Dist
SwitchOFF, ONTurns the Distortion on/off.
TypeMELLOW DRIVE,
OVERDRIVE,
CRY DRIVE,
MELLOW DIST,
LIGHT DIST,
FAT DIST,
FUZZ DIST
Type of distortion
MELLOW DRIVE:
A soft, mel-
low distortion; somewhat dark
sounding.
OVERDRIVE:
The classic sound
of an overdriven tube amp.
CRY DRIVE:
Distortion with a
high-frequency boost.
MELLOW DIST:
Sounds like the
distortion you’d get from a really
big amp.
LIGHT DIST:
A distortion with
an intense, brilliant feel.
FAT DIST:
Boosted lows and
highs gives this one a thick, fat
sound.
FUZZ DIST:
Like FAT DIST, but
with even more distortion.
Drive #
0-100Amount of distortion
Level0-100Distortion output level
Phaser
Switch
OFF, ONTurns the Phaser on/off.
Manual #50 Hz-15.0 kHzAdjusts the basic frequency
from which the sound is mod-
ulated.
Rate #0.1-10.0 HzFrequency of modulation
Depth #0-100Depth of modulation
Resonance #0-100Amount of feedback
Mix Level #0-100Level of the phase-shifted
sound
Spectrum
Switch
OFF, ONTurns the Spectrum on/off.
Band1 (250Hz)-15-+15 dBGain of each frequency band
Band2 (500Hz)
Band3 (1000Hz)
Band4 (2000Hz)
Band5 (4000Hz)
Band6 (8000Hz)
Width1, 2, 3, 4, 5Simultaneously adjusts the
width of all frequency bands.
Enhancer
Switch
OFF, ONTurns the Enhancer on/off.
Sens0-100Sensitivity of the enhancer
Mix Level #0-100Level of the overtones generat-
ed by the enhancer
Output
Level
0-127Output level
PanL64-63RStereo location of the output
L out
R out
L in
R in
Distortion
SpectrumEnhancer
Phaser
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96
Chapter 4 Using the XV-5050 Effects
76: St LOFI COMP
(Stereo Lo-Fi Compress)
This is a stereo Lo-Fi compressor. It deliberately degrades the sound
quality for creative effect.
fig.02-076m
77: St LOFI NOIZ (Stereo Lo-Fi Noise)
This is a stereo Lo-Fi noise. In addition to a Lo-Fi effect, this effect
also generates various types of noise such as radio noise and disc
noise.
fig.02-077m
Parameter
ValueDescription
LoFi Type
1-9Degrades the sound quality.
The sound quality grows
poorer as this value is in-
creased.
Pre Filter1-6Adjusts the type of filter ap-
plied to the sound before it
passes through the Lo-Fi ef-
fect.
Post Filter 11-6Adjusts the type of filter ap-
plied to the sound after it
passes through the Lo-Fi ef-
fect.
Post Filter 2OFF, LPF, HPFType of filter
OFF:
no filter is used
LPF:
cuts the frequency range
above the Cutoff
HPF:
cuts the frequency range
below the Cutoff
Post Cutoff
200-8000 HzBasic frequency of the filter
Low Gain-15-+15 dBGain of the low frequency
range
High Gain-15-+15 dBGain of the high frequency
range
Balance #D100:0W-
D0:100W
Volume balance between the
direct sound (D) and the ef-
fect sound (W)
Level0-127Output level
L in
R in
L out
R out
Lo-Fi
2-Band EQ
2-Band EQ
Lo-Fi
Parameter
ValueDescription
LoFi Type
1-9Degrades the sound quality. The
sound quality grows poorer as this
value is increased.
Post FilterOFF, LPF,
HPF
Type of filter
OFF:
no filter is used
LPF:
cuts the frequency range above
the Cutoff
HPF:
cuts the frequency range below
the Cutoff
Cutoff Freq
200-8000 HzBasic frequency of the filter
Hum N Type50 Hz, 60 HzType of hum noise
Hum N LPF200-8000 Hz,
BYPASS
Adjusts the cutoff frequency of the
low pass filter applied to the hum
noise. If you don’t want to filter
out any high frequencies, set this
parameter to BYPASS.
Hum N Level0-127Volume of the hum noise
Radio Detune #0-127Simulates the tuning noise of a ra-
dio.
As this value is raised, the tuning
drifts further.
RadioNoise Level
0-127Volume of the radio noise
W/P Noise TypeWHITE, PINKSelects either white noise or pink
noise.
W/P LPF200-8000 Hz,
BYPASS
Adjusts the cutoff frequency of the
low pass filter applied to the white
noise or pink noise. If you don’t
want to filter out any high frequen-
cies, set this parameter to BYPASS.
White/Pink Level0-127Volume of the white noise or pink
noise
Disc N TypeLP, EP, SP,
RND
Type of record noise
The frequency at which the noise is
heard depends on the selected type.
Disc N LPF
200-8000 Hz,
BYPASS
Adjusts the cutoff frequency of the
low pass filter applied to the
record noise. If you don’t want to
filter out any high frequencies, set
this parameter to BYPASS.
Disc N Level0-127Volume of the record noise
Low Gain-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the effect sound (W)
Level0-127Output level
R in
R out
L in
L out
Lo-Fi
Lo-Fi
2-Band
EQ
2-Band
EQ
Noise Gen.
Radio
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97
Chapter 4 Using the XV-5050 Effects
Chapter 4
78: GTR AMP SIM
(Guitar Amp Simulator)
This is an effect that simulates the sound of a guitar amplifier.
fig.02-078m
Specifications for each Speaker Type
The speaker column indicates the diameter of each speaker unit (in
inches) and the number of units.
79: STEREO OD (Stereo Overdrive)
80: STEREO DIST (Stereo Distortion)
The parameters are the same as for “79: STEREO OD.”
fig.02-080m
In this section, the Delay and Chorus/Flanger are depicted in
diagrams. When these same effects are discussed later on, these
diagrams also apply.
fig.02-080ms
Parameter
ValueDescription
Amp Simulator Sw
OFF, ON
Turns the amp switch on/off.
Amp Type
JC-120, CLEAN TWIN,
MATCH DRIVE,
BG LEAD, MS1959I,
MS1959II, MS1959I+II,
SLDN LEAD,
METAL 5150,
METAL LEAD,
OD-1, OD-2 TURBO,
DISTORTION, FUZZ
Type of guitar amp
Amp Volume #
0-127
Volume and amount of distor-
tion of the amp
Amp Master Vol #
0-127
Volume of the entire pre-amp
Amp Gain
LOW, MID, HIGH
Amount of pre-amp distortion
Amp Presence
0-127 (MATCH
DRIVE: -127 - 0)
Tone for the ultra-high fre-
quency range
Amp Bright
OFF, ON
Turning this “On” produces a
sharper and brighter sound.
*This parameter applies
to the “JC-120,”
“CLEAN TWIN,” and
“BG LEAD” Pre Amp
Types.
Amp Bass0-127
Tone of the bass/mid/treble
frequency range
*Middle cannot be set if
“MATCH DRIVE” is se-
lected as the Pre Amp
Type.
Amp Middle
Amp Treble
Speaker SwitchOFF, ON
Determines whether the sig-
nal passes through the speak-
er (ON), or not (OFF).
SP Type
(See the table below.)
Type of speaker
Mic Setting
1, 2, 3
Adjusts the location of the mic
that’s capturing the sound of
the speaker.
This can be adjusted in three
steps, from 1 to 3, with the
mic becoming more distant
as the value increases.
Mic Level
0-127
Volume of the microphone
Direct Level0-127
Volume of the direct sound
Level #
0-127
Output level
Pan #
L64-63R
Stereo location of the output
Type
CabinetSpeaker Micro-
phone
SMALL 1
small open-back enclosure10dynamic
SMALL 2small open-back enclosure10dynamic
MIDDLEopen back enclosure12 x 1dynamic
JC-120open back enclosure12 x 2dynamic
BUILT IN 1open back enclosure12 x 2dynamic
BUILT IN 2open back enclosure12 x 2condenser
BUILT IN 3open back enclosure12 x 2condenser
BUILT IN 4open back enclosure12 x 2condenser
BUILT IN 5open back enclosure12 x 2condenser
BG STACK 1sealed enclosure12 x 2condenser
BG STACK 2large sealed enclosure12 x 2condenser
MS STACK 1large sealed enclosure12 x 4condenser
MS STACK 2large sealed enclosure12 x 4condenser
METAL
STACK
large double stack12 x 4condenser
2-STACKlarge double stack12 x 4condenser
3-STACKlarge triple stack12 x 4condenser
L in
R in
L out
R out
Pan R
Pan L
Pre Amp
Speaker
Parameter
ValueDescription
Drive #
0-127Degree of distortion
Also changes the volume.
Tone
0-127Sound quality of the Overdrive effect
Amp SwitchOFF, ONTurns the Amp Simulator on/off.
Amp TypeSMALL,
BUILT-IN,
2-STACK,
3-STACK
Type of guitar amp
SMALL:
small amp
BUILT-IN:
single-unit type amp
2-STACK:
large double stack amp
3-STACK:
large triple stack amp
Low Gain
-15-+15 dBGain of the low frequency range
High Gain-15-+15 dBGain of the high frequency range
Level0-127Output level
L in
R in
L out
R out
Amp
Simulator
2-Band
EQ
Overdrive
Amp
Simulator
2-Band
EQ
Overdrive
L in
R in
L out
R out
Amp
Simulator
2-Band
EQ
Distortion
Amp
Simulator
2-Band
EQ
Distortion
R out
L out
Chorus/
Flanger
Chorus/
Flanger
Feedback
Delay
Feedback
Delay
Chorus/
Flanger
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98
Chapter 4 Using the XV-5050 Effects
81: GTR MULTI A (Guitar Multi A)
fig.02-081m
82: GTR MULTI B (Guitar Multi B)
fig.02-082m
Parameter
ValueDescription
Compressor
Switch
OFF, ON
Turns the Compressor on/off.
Attack
0-127
Sets the speed at which compression starts
Sustain
0-127
Adjusts the duration of the compression.
Level #
0-127
Volume of the Compressor sound
OD/Dist
SwitchOFF, ON
Turns the Overdrive/Distortion on/off.
Type
OVERDRIVE,
DISTORTION
Selects either Overdrive or Distortion.
Drive #
0-127
Amount of distortion
Also changes the volume.
Tone0-127
Sound quality of the Overdrive/Distortion
effect
Level
0-127
Volume of the Overdrive/Distortion
sound
Amp Simulator
Switch
OFF, ON
Turns the Amp Simulator on/off.
Type
SMALL,
BUILT-IN,
2-STACK,
3-STACK
Type of guitar amp
SMALL:
small amp
BUILT-IN:
single-unit type amp
2-STACK:
large double stack amp
3-STACK:
large triple stack amp
Delay
Switch
OFF, ON
Turns the Delay on/off.
Time L0-3000 ms,
note *2
Adjusts the time until the delay is heard.
Time R
Feedback-98-+98 %
Adjusts the amount of the delay sound
that’s fed back into the effect. Negative (-)
settings invert the phase.
HF Damp
200-8000 Hz,
BYPASS
Adjusts the frequency above which sound
fed back to the effect is filtered out. If you
don’t want to filter out any high frequen-
cies, set this parameter to BYPASS.
Balance #D100:0W-
D0:100W
Volume balance between the direct sound
(D) and the delay sound (W)
Cho/Flg
SwitchOFF, ON
Turns the Chorus/Flanger on/off.
Type
CHORUS,
FLANGER
Selects either Chorus or Flanger.
Rate
0.05-10.00 Hz,
note *2
Frequency of modulation
Depth
0-127
Depth of modulation
Feedback
-98-+98 %
Adjusts the amount of the flanger sound
that’s fed back into the effect. Negative (-)
settings invert the phase.
PreDly
0.0-100.0 ms
Adjusts the time until the chorus/flanger
is heard.
Filter Type
OFF, LPF,
HPF
Type of filter
OFF:
no filter is used
LPF:
cuts the frequency range above the
Cutoff Freq
HPF:
cuts the frequency range below the
Cutoff Freq
Cutoff Freq
200-8000 Hz
Basic frequency of the filter
Balance #D100:0W-
D0:100W
Volume balance between the direct sound
(D) and the chorus/flanger sound (W)
Output
Level
0-127
Output level
PanL64-63R
Stereo location of the output
L in
R in
Compressor
Amp
Simulator
Overdrive/
Distortion
R out
L out
Pan
Delay
Chorus/
Flanger
Parameter
ValueDescription
Compressor
Switch
OFF, ON
Turns the Compressor on/off.
Attack
0-127
Sets the speed at which compression starts
Sustain
0-127
Adjusts the duration of the compression.
Level #
0-127
Volume of the Compressor sound
OD/Dist
Switch
OFF, ON
Turns the Overdrive/Distortion on/off.
Type
OVERDRIVE,
DISTORTION
Selects either Overdrive or Distortion.
Drive #
0-127
Degree of distortion
Also changes the volume.
Tone
0-127
Sound quality of the Overdrive/Distortion
effect
Level
0-127
Volume of the Overdrive/Distortion
sound
Amp Simulator
Switch
OFF, ON
Turns the Amp Simulator on/off.
Type
SMALL,
BUILT-IN,
2-STACK,
3-STACK
Type of guitar amp
SMALL:
small amp
BUILT-IN:
single-unit type amp
2-STACK:
large double stack amp
3-STACK:
large triple stack amp
3 Band EQ
SwitchOFF, ON
Turns the 3 Band EQ on/off.
Low Gain
-15-+15 dB
Gain of the low frequency range
Mid Freq
200-8000 Hz
Frequency of the middle frequency range
Mid Gain
-15-+15 dB
Gain of the middle frequency range
Mid Q
0.5, 1.0, 2.0,
4.0, 8.0
Width of the middle frequency range
Set a higher value for Q to narrow the fre-
quency range to be affected.
High Gain
-15-+15 dB
Gain of the high frequency range
Cho/Flg
Switch
OFF, ON
Turns the Chorus/Flanger on/off.
Type
CHORUS,
FLANGER
Selects either Chorus or Flanger.
Rate0.05-10.00 Hz,
note *2
Frequency of modulation
Depth
0-127
Depth of modulation
Feedback
-98-+98 %
Adjusts the amount of the flanger sound
that’s fed back into the effect. Negative (-)
settings invert the phase.
PreDly0.0-100.0 ms
Adjusts the time until the chorus/flanger
is heard.
Filter Type
OFF, LPF,
HPF
Type of filter
OFF:
no filter is used
LPF:
cuts the frequency range above the
Cutoff Freq
HPF:
cuts the frequency range below the
Cutoff Freq
Cutoff Freq200-8000 Hz
Basic frequency of the filter
Balance #
D100:0W-
D0:100W
Volume balance between the direct sound
(D) and the chorus/flanger sound (W)
Output
Level
0-127
Output level
Pan
L64-63R
Stereo location of the output
L in
R in
Compressor
Amp
Simulator
Overdrive/
Distortion
3-Band EQ
L out
R out
Chorus/
Flanger
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99
Chapter 4 Using the XV-5050 Effects
Chapter 4
83: GTR MULTI C (Guitar Multi C)84: CL GTR MLT A
(Clean Guitar Multi A)
fig.02-084m
Parameter
ValueDescription
OD/Dist
Switch
OFF, ON
Turns the Overdrive/Distortion on/off.
Type
OVERDRIVE,
DISTORTION
Selects either Overdrive or Distortion.
Drive #
0-127
Degree of distortion
Also changes the volume.
Tone
0-127
Sound quality of the Overdrive/Distortion
effect
Level
0-127
Volume of the Overdrive/Distortion sound
Wah
Switch
OFF, ON
Turns the Auto Wah on/off.
Filter Type
LPF, BPF
Type of filter
LPF:
The wah effect is applied over a
wide frequency range.
BPF:
The wah effect is applied over a nar-
row frequency range.
Rate
0.05-10.00 Hz,
note *2
Frequency of modulation
Depth
0-127
Depth of modulation
Sens
0-127
Adjusts the sensitivity with which the filter is
controlled.
Manual #
0-127
Adjusts the center frequency at which the ef-
fect is applied.
Peak
0-127
Adjusts the amount of the wah effect that oc-
curs in the center frequency range.
Set a higher value for Q to narrow the af-
fect frequency range.
Amp Simulator
Switch
OFF, ON
Turns the Amp Simulator on/off.
Type
SMALL,
BUILT-IN, 2-
STACK, 3-
STACK
Type of guitar amp
SMALL:
small amp
BUILT-IN:
single-unit type amp
2-STACK:
large double stack amp
3-STACK:
large triple stack amp
Delay
Switch
OFF, ON
Turns the Delay on/off.
Time L
0-3000 ms,
note *2
Adjusts the time until the delay is heard.
Time R
Feedback
-98-+98 %
Adjusts the amount of the delay sound that’s
fed back into the effect. Negative (-) settings
invert the phase.
HF Damp
200-8000 Hz,
BYPASS
Adjusts the frequency above which sound
fed back to the effect is filtered out. If you
don’t want to filter out any high frequencies,
set this parameter to BYPASS.
Balance #
D100:0W-
D0:100W
Volume balance between the direct sound
(D) and the delay sound (W)
Cho/Flg
Switch
OFF, ON
Turns the Chorus/Flanger on/off.
Type
CHORUS,
FLANGER
Selects either Chorus or Flanger.
Rate
0.05-10.00 Hz,
note *2
Frequency of modulation
Depth
0-127
Depth of modulation
Feedback
-98-+98 %
Adjusts the amount of the flanger sound
that’s fed back into the effect. Negative (-)
settings invert the phase.
PreDly
0.0-100.0 ms
Adjusts the time until the chorus/flanger is
heard.
Filter Type
OFF, LPF, HPF
Type of filter
OFF:
no filter is used
LPF:
cuts the frequency range above the
Cutoff Freq
HPF:
cuts the frequency range below the
Cutoff Freq
Cutoff Freq
200-8000 Hz
Basic frequency of the filter
Balance #
D100:0W-
D0:100W
Volume balance between the direct sound
(D) and the chorus/flanger sound (W)
Output
Level
0-127
Output level
Pan
L64-63R
Stereo location of the output
L out
R out
L in
R in
Overdrive/
Distortion
Amp
Simulator
Delay
Chorus/
Flanger
Pan
Wah
Parameter
ValueDescription
Compressor
SwitchOFF, ON
Turns the Compressor on/off.
Attack
0-127
Sets the speed at which compression
starts
Sustain0-127
Adjusts the duration of the compres-
sion.
Level #
0-127
Volume of the Compressor sound
3 Band EQ
Switch
OFF, ON
Turns the 3 Band EQ on/off.
Low Gain-15-+15 dB
Gain of the low frequency range
Mid Freq
200-8000 Hz
Frequency of the middle frequency
range
Mid Gain-15-+15 dB
Gain of the middle frequency range
Mid Q
0.5, 1.0, 2.0, 4.0,
8.0
Width of the middle frequency
range
Set a higher value for Q to narrow
the affected frequency range.
High Gain
-15-+15 dB
Gain of the high frequency range
Delay
Switch
OFF, ON
Turns the Delay on/off.
Time L
0-3000 ms,
note*2
Adjusts the time until the delay is
heard.
Time R
Feedback-98-+98 %
Adjusts the amount of the delay
sound that’s fed back into the effect.
Negative (-) settings invert the
phase.
HF Damp
200-8000 Hz,
BYPASS
Adjusts the frequency above which
sound fed back to the effect is fil-
tered out. If you don’t want to filter
out any high frequencies, set this pa-
rameter to BYPASS.
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the delay sound (W)
Cho/Flg
Switch
OFF, ON
Turns the Chorus/Flanger on/off.
Type
CHORUS,
FLANGER
Selects either Chorus or Flanger.
Rate
0.05-10.00 Hz,
note *2
Frequency of modulation
Depth
0-127
Depth of modulation
Feedback
-98-+98 %
Adjusts the amount of the flanger
sound that’s fed back into the effect.
Negative (-) settings invert the
phase.
Pre Delay
0.0-100.0 ms
Adjusts the time until the chorus/
flanger is heard.
Filter TypeOFF, LPF, HPF
Type of filter
OFF:
no filter is used
LPF:
cuts the frequency range
above the Cutoff Freq
HPF:
cuts the frequency range be-
low the Cutoff Freq
Cutoff Freq
200-8000 Hz
Basic frequency of the filter
Balance #
D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the chorus/flanger
sound (W)
Output
Level
0-127
Output level
Pan
L64-63R
Stereo location of the output
L out
R out
L in
R in
Compressor
Delay
Chorus/
Flanger
Pan
3-Band EQ
XV-5050_e.book99ページ2003年6月27日 金曜日 午後3時14分
100
Chapter 4 Using the XV-5050 Effects
85: CL GTR MLT B
(Clean Guitar Multi B)
fig.02-085m
86: BASS MULTI
fig.02-086m
Parameter
ValueDescription
Wah
SwitchOFF, ON
Turns the Auto Wah on/off.
Filter Type
LPF, BPF
Type of filter
LPF:
The wah effect is applied over a
wide frequency range.
BPF:
The wah effect is applied over a nar-
row frequency range.
Rate
0.05-10.00 Hz,
note *2
Frequency of modulation
Mod Depth
0-127
Depth of modulation
Sens
0-127
Adjusts the sensitivity with which the fil-
ter is controlled.
Manual #0-127
Adjusts the center frequency at which the
effect is applied.
Peak
0-127
Adjusts the amount of the wah effect that
occurs in the center frequency range.
Set a higher value for Q to narrow the af-
fected frequency range.
3 Band EQ
Switch
OFF, ON
Turns the 3 Band EQ on/off.
Low Gain
-15-+15 dB
Gain of the low frequency range
Mid Freq
200-8000 Hz
Frequency of the middle frequency range
Mid Gain-15-+15 dB
Gain of the middle frequency range
Mid Q
0.5, 1.0, 2.0,
4.0, 8.0
Width of the middle frequency range
Set a higher value for Q to narrow the af-
fect frequency range.
High Gain
-15-+15 dB
Gain of the high frequency range
Delay
Switch
OFF, ON
Turns the Delay on/off.
Time L
0-3000 ms,
note *2
Adjusts the time until the delay is heard.
Time R
Feedback-98-+98 %
Adjusts the amount of the delay sound
that’s fed back into the effect. Negative (-)
settings invert the phase.
HF Damp
200-8000 Hz,
BYPASS
Adjusts the frequency above which sound
fed back to the effect is filtered out. If you
don’t want to filter out any high frequen-
cies, set this parameter to BYPASS.
Balance #
D100:0W-
D0:100W
Volume balance between the direct sound
(D) and the delay sound (W)
Cho/Flg
Switch
OFF, ON
Turns the Chorus/Flanger on/off.
Type
CHORUS,
FLANGER
Selects either Chorus or Flanger.
Rate
0.05-10.00 Hz,
note *2
Frequency of modulation
Depth
0-127
Depth of modulation
Feedback
-98-+98 %
Adjusts the amount of the flanger sound
that’s fed back into the effect. Negative (-)
settings invert the phase.
PreDly
0.0-100.0 ms
Adjusts the time until the chorus/flanger
sound is heard.
Filter Type
OFF, LPF,
HPF
Type of filter
OFF:
no filter is used
LPF:
cuts the frequency range above the
Cutoff Freq
HPF:
cuts the frequency range below the
Cutoff Freq
Cutoff Freq
200-8000 Hz
Basic frequency of the filter
Balance #
D100:0W-
D0:100W
Volume balance between the direct sound
(D) and the chorus/flanger sound (W)
Output
Level
0-127
Output level
Pan
L64-63R
Stereo location of the output
L out
R out
L in
R in
Wah
Delay
Chorus/
Flanger
Pan
3-Band EQ
Parameter
ValueDescription
Compressor
Switch
OFF, ONTurns the Compressor on/off.
Attack0-127Sets the speed at which compression
starts
Sustain0-127Adjusts the duration of the compres-
sion.
Level #0-127Volume of the Compressor sound
OD/Dist
Switch
OFF, ONTurns the Overdrive/Distortion on/
off.
TypeOVERDRIVE,
DISTORTION
Selects either Overdrive or Distortion.
Drive #0-127Degree of distortion
Also changes the volume.
Level
0-127Volume of the Overdrive/Distortion
sound
Amp Simulator
Switch
OFF, ONTurns the Amp Simulator on/off.
TypeSMALL,
BUILT-IN,
2-STACK
Type of bass amp
SMALL:
small amp
BUILT-IN:
single-unit type amp
2-STACK:
large double stack amp
3 Band EQ
Switch
OFF, ONTurns the 3 Band EQ on/off.
Low Gain-15-+15 dBGain of the low frequency range
Mid Freq200-8000 HzFrequency of the middle frequency
range
Mid Gain-15-+15 dBGain of the middle frequency range
Mid Q0.5, 1.0, 2.0,
4.0, 8.0
Width of the middle frequency range
Set a higher value for Q to narrow the af-
fected frequency range.
High Gain
-15-+15 dBGain of the high frequency range
Cho/Flg
Switch
OFF, ONTurns the Chorus/Flanger on/off.
TypeCHORUS,
FLANGER
Selects either Chorus or Flanger.
Rate0.05-10.00 Hz,
note *2
Frequency of modulation
Depth0-127Depth of modulation
Feedback-98-+98 %Adjusts the amount of the flanger
sound that’s fed back into the effect.
Negative (-) settings invert the phase.
PreDly0.0-100.0 msAdjusts the time until the chorus/
flanger is heard.
Filter TypeOFF, LPF,
HPF
Type of filter
OFF:
no filter is used
LPF:
cuts the frequency range above the
Cutoff Freq
HPF:
cuts the frequency range below the
Cutoff Freq
Cutoff Freq
200-8000 HzBasic frequency of the filter
Balance #D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the chorus/flanger
sound (W)
Output
Level
0-127Output level
PanL64-63RStereo location of the output
L out
R out
L in
R in
Compressor
3-Band
EQ
Overdrive/
Distortion
Amp
Simulator
Chorus/
Flanger
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101
Chapter 4 Using the XV-5050 Effects
Chapter 4
87: ISOLATOR 2
This adds a filter to the ISOLATOR effect. Isolator is an equalizer
that radically cuts the volume of selected frequencies, allowing you
to create special effects to the sound by cutting the volume in various
frequency ranges.
fig.02-087m
88: St SPECTRUM (Stereo Spectrum)
This is a stereo spectrum. Spectrum is a type of filter that modifies
the timbre by boosting or cutting the levels of specific frequency
ranges.
fig.02-088m
89: 3D AUTO SPIN
Spins the sound across the stereo field.
fig.02-089m
90: 3D MANUAL
Places the 3D effect at a desired location.
Parameter
ValueDescription
Level Low #
-60-+4 dBThese boost and cut each of the High,
Middle, and Low frequency ranges.
At -60 dB, the sound becomes inaudible. 0
dB is equivalent to the input level of the
sound.
Level Middle #
Level High #
AntiPhase Low
Sw
OFF, ONTurns the Anti-Phase function on and
off for the Low frequency ranges.
When turned on, a stereo copy of the
sound is phase-inverted and added to the
signal.
AntiPhase Lo Lev
0-127Adjusts the level settings for the Low
frequency ranges.
Adjusting this level for certain frequen-
cies allows you to lend emphasis to spe-
cific elements within a sound. (This is
effective only for stereo source.)
AntiPhase Mid
Sw
OFF, ONSettings of the Anti-Phase function for
the Middle frequency ranges
The parameters are the same as for the
Low frequency ranges.
AntiPhase
MidLev
0-127
Filter SwitchOFF, ONTurns the filter on/off.
Filter TypeLPF, BPF,
HPF,
NOTCH
Type of filter
LPF:
Passes frequencies below the Cutoff.
BPF:
Passes frequencies near the Cutoff.
HPF:
Passes frequencies above the Cut-
off.
NOTCH:
Passes frequencies other than
those near the Cutoff.
Cutoff Freq
0-127Basic frequency of the filter
The closer to zero this is set, the lower the
cutoff frequency becomes; set it closer to
127, and the cutoff frequency becomes
higher.
Resonance0-127Resonance level of the filter
Raising the setting increases the reso-
nance volume near the cutoff frequency.
Filter Slope
-12, -24 dBFilter’s attenuation slope
-24 dB per octave:
steep
-12 dB per octave:
gentle
Filter Gain
0-24 dBCompensates for volume reductions in
selected frequency ranges caused by
some filters.
The level of compensation increases as the
value is increased, thus raising the vol-
ume.
Low Boost Sw
OFF, ONTurns Low Booster on/off.
This emphasizes the bottom frequencies
to create a heavy bass sound.
Low Boost Level
0-127Increasing this value gives you a
heavier low end.
*Depending on the Isolator and filter
settings, this effect may be hard to
hear.
Level0-127Output level
L in
R in
L out
R out
Low
Boost
IsolatorFilter
Low
Boost
IsolatorFilter
Parameter
ValueDescription
250Hz Gain-15-+15 dB
Gain of each frequency band
500Hz Gain
1000Hz Gain
1250Hz Gain
2000Hz Gain
3150Hz Gain
4000Hz Gain
8000Hz Gain
Band Width Q0.5, 1.0, 2.0,
4.0, 8.0
Simultaneously adjusts the width of all the
frequency bands.
Level #
0-127
Output level
Parameter
ValueDescription
Azimuth
L180-R180
Sets the location at which the sound stops
when rotation ends.
A setting of “0” positions the sound in the
center.
Speed #0.05-10.00 Hz,
note *2
Speed of rotation
Clockwise
-, +
Direction of rotation
-:
counterclockwise rotation
+:
clockwise rotation
Turn #OFF, ON
Stops or starts the rotation.
ON:
The sound rotates.
OFF:
Rotation stops at the location speci-
fied by Azimuth.
Output ModeSPEAKER,
PHONES
Selects the method by which the effect is
sent to the OUTPUT jacks.
The optimal 3D effect is achieved if you
select SPEAKER when using speakers, or
PHONES when using headphones.
Level
0-127
Output level
Parameter
ValueDescription
Azimuth #
L180-R180
Specifies the location.
A setting of “0” positions the sound in the
center.
Output Mode
SPEAKER,
PHONES
Selects the method by which the effect is
sent to the OUTPUT jacks.
The optimal 3D effect is achieved if you
select SPEAKER when using speakers, or
PHONES when using headphones.
Level0-127
Output level
L in
R in
L out
R out
Spectrum
Spectrum
L out
R out
L in
R in
3D Auto
L out
R out
L in
R in
3D Manual
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102
Chapter 4 Using the XV-5050 Effects
note *1:
fig.MFX-note1.e_88
note *2:
fig.MFX-note2.e_88
Chorus Parameters
The XV-5050’s Chorus effect unit can also be used as a stereo delay
unit.
These settings allow you to select chorus or delay, and the
characteristics of the selected effect type.
note:
fig.MFX-note2.e
When Using 3D Effects
The following 3D effects utilize RSS (Roland Sound Space)
technology to create a spaciousness that cannot be produced by
delay, reverb, chorus, etc.
48: 3D DELAY
60: 3D CHORUS
61: 3D FLANGER
70: 3D DELAY 2
89: 3D AUTO SPIN
90: 3D MANUAL
When using these effects, we recommend that you place your
speakers as follows. Also, make sure that the speakers are at a
sufficient distance from the walls on either side.
fig.02-031
If the left and right speakers are too far apart, or if there is too
much reverberation, the full 3D effect may not be realized.
Each of these effects has an “Output Mode” parameter. If the
sound from the OUTPUT jacks is to be heard through speakers,
set this parameter to “SPEAKER.” If the sound is to be heard
through headphones, set it to “PHONES.” This ensures that the
optimal 3D effect is achieved. If this parameter is not set
correctly, the full 3D effect may not be realized.
These settings allow you to select the desired type of reverb and its
characteristics.
Copying Effect Settings
You can copy the effect settings from any Patch, Performance, or
Rhythm Set into the currently selected Patch, Performance, or
Rhythm Set. This can save a great deal of time and effort when
setting up effects.
1.
Make sure that the Performance, Patch or Rhythm Set you
wish to copy is selected.
2.
Press [UTILITY] to make its indicator light.
3.
Press [ CURSOR] a few times to move the cursor to the
parameter group at the upper line of the display.
4.
Turn [VALUE] to choose “COPY EFFECT.”
5.
USE [ CURSOR]/[CURSOR ] and [VALUE] to choose
the desired settings.
6.
Press [ENTER] to execute the Copy.
*To cancel, press [EXIT].
7.
Press [EXIT] to return to the appropriate PLAY screen.
A “*” symbol will appear at the left of the Patch/Performance/
Rhythm Set name, indicating that the Copy has been executed.
Parameter
ValueDescription
Type
0 (OFF),
1 (REVERB),
2 (SRV
ROOM),
3 (SRV
HALL),
4 (SRV
PLATE),
5 (GM2 RE-
VERB)
Type of reverb
0 (OFF):
Reverb is not used.
1 (REVERB):
Normal reverb
2 (SRV ROOM):
This simulates typical
room acoustic reflections.
3 (SRV HALL):
This simulates typical
concert hall acoustic reflections.
4 (SRV PLATE):
This simulates a reverb
plate, a popular type of artificial reverb
unit that derives its sound from the vi-
bration of a metallic plate.
5 (GM2 REVERB):
GM2 Reverb
Type: 1 (REVERB)
Reverb Type
ROOM1,
ROOM2,
STAGE1,
STAGE2,
HALL1,
HALL2,
DELAY,
PAN-DELAY
Type of reverb/delay
ROOM1:
short reverb with high density
ROOM2:
short reverb with low density
STAGE1:
reverb with greater late rever-
beration
STAGE2:
reverb with strong early re-
flections
HALL1:
very clear-sounding reverb
HALL2:
rich reverb
DELAY:
conventional delay effect
PAN-DELAY:
delay effect with echoes
that pan left and right
Reverb Time
0-127
Time length of reverberation (Type:
ROOM1-HALL2)
Delay time (Type: DELAY, PAN-DELAY)
Rev HF Damp
200-8000 Hz,
BYPASS
Adjusts the frequency above which the
high-frequency content of the reverb sound
is cut, or “damped.” If you don’t want to
damp the high frequencies, set this parame-
ter to BYPASS.
Reverb Feedback
0-127
Adjusts the amount of delay feedback when
the Type setting is DELAY or PAN-DELAY.
Type: 2 (SRV ROOM) / 3 (SRV HALL) / 4 (SRV PLATE)
Pre Delay
0.0-100.0 ms
Adjusts the time until the reverb is heard.
Time
0-127
Duration of reverb
Size
1-8
Size of the simulated room or hall
High Cut
160 Hz-12.5
kHz, BYPASS
Adjusts the frequency above which the
high-frequency content of the reverb is fil-
tered out. If you don’t want to reduce the re-
verb’s high frequencies, set this parameter
to BYPASS.
Density
0-127
Density of reverb
Diffusion
0-127
Adjusts the change in the density of the re-
verb over time. The higher the value, the
more the density increases with time. (The
effect of this setting is most pronounced
with long reverb times.)
LF Damp
50-4000 Hz,
BYPASS
Adjusts the frequency below which the low-
frequency content of the reverb sound is re-
duced, or “damped.” If you don’t want to
damp the high frequencies, set this parame-
ter to BYPASS.
LF Damp Gain
-36-0 dB
Adjusts the amount of damping applied to
the frequency range selected with LF Damp.
With a setting of “0,” there’s no reduction of
the reverb’s low-frequency content.
HF Damp
4000 Hz-12.5
kHz, BYPASS
Adjusts the frequency above which the
high-frequency content of the reverb sound
is reduced, or “damped.” If you don’t want
to damp the high frequencies, set this pa-
rameter to BYPASS.
HF Damp Gain
-36-0 dB
Adjusts the amount of damping applied to
the frequency range selected with HF
Damp. With a setting of “0,” there’s no re-
duction of the reverb’s high-frequency con-
tent.
Type: 5 (GM2 REVERB)
Level
0-127
Output level of reverbration
Character
0-7
Type of reverb
0–5:
reverb
6, 7:
delay
Pre-LPF
0-7
Cuts the high frequency range of the sound
coming into the reverb.
Higher values cut more high frequencies.
Time
0-127
Duration of reverb
Delay Feedback
0-127
Adjusts the amount of the delay sound
that’s fed back into the effect when the Re-
verb Character setting is 6 or 7.
ParameterValueDescription
Source
PERFORM, PATCH,
RHYTHM
Selects the source containing
the settings you wish to copy.
(Performance/Patch/Rhythm Set name)
TypeMFX, CHORUS, RE-
VERB
Selects the effect type of the
source.
FromMFX-A–CSelects the Multi-effects to
copy the settings from.
*This can be set only when
“PERFORM” is selected for
Source and “MFX” is select-
ed for Type.
ToMFX-A–CSelects the Multi-effects to
which you want to copy the
settings.
*This can be set only when
“PERFORM” is selected for
Source and “MFX” is select-
ed for Type.
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104
Chapter 5 Saving a Sound You Create
Saving Edits to the XV-5050’s
Internal Memory (WRITE)
If you turn the power off or select another Patch, Rhythm Set, or
Performance after you have modified a Patch, Rhythm Set or
Performance, the changes you have made will be lost. If you wish to
preserve the data, store it into the XV-5050’s USER memory.
Saving a Patch (PATCH WRITE)
1.
Make sure that the Patch you wish to save is selected.
2.
Press [UTILITY] to make its indicator light.
3.
Press [ CURSOR] a few times to move the cursor to the
upper left of the display.
4.
Turn [VALUE] to select “WRITE PATCH.”
5.
Press [CURSOR ] to move the cursor to the lower right of
the display.
6.
Turn [VALUE] to select the number of the memory location
in which you wish to save the Patch (USER area).
7.
Press [ENTER] to save the Patch.
*To cancel the procedure, press [EXIT].
8.
Press [EXIT] to return to the PATCH PLAY screen.
By holding down [SHIFT] and pressing [UTILITY], you can
move directly to the PATCH WRITE screen.
Saving a Rhythm Set
1.
Make sure that the Rhythm Set you wish to save is selected.
2.
Press [UTILITY] to make its indicator light.
3.
Press [ CURSOR] a few times to move the cursor to the
upper left of the display.
4.
Turn [VALUE] to select “WRITE RHYTHM.”
5.
Press [CURSOR ] to move the cursor to the lower right of
the display.
6.
Turn [VALUE] to select the number of the memory location
in which you wish to save the Rhythm Set (USER area).
7.
Press [ENTER] to save the Rhythm Set.
*To cancel the procedure, press [EXIT].
8.
Press [EXIT] to return to the RHYTHM PLAY screen.
By holding down [SHIFT] and pressing [UTILITY], you can
move directly to the RHYTHM WRITE screen.
Saving a Performance
1.
Make sure that Performance you wish to save is selected.
2.
Press [UTILITY] to make its indicator light.
3.
Press [ CURSOR] a few times to move the cursor to the
upper left of the display.
4.
Turn [VALUE] to select “WRITE PERFORM.”
5.
Press [CURSOR ] to move the cursor to the lower right of
the display.
6.
Turn [VALUE] to select the number of the memory location
in which you wish to save the Performance (USER area).
7.
Press [ENTER] to save the Performance.
*To cancel the procedure, press [EXIT].
8.
Press [EXIT] to return to the PERFORM PLAY screen.
By holding down [SHIFT] and pressing [UTILITY], you can
move directly to the PERFORM WRITE screen.
If you change a Patch's/Rhythm Set's settings without having saved
the Patch/Rhythm Set, and then attempt to save the Performance,
tho following message appears in the display.
When you press [ENTER], the settings of the Performance alone are
saved; changes in the settings of Patches/Rhythm Sets will not be
saved. If you do want to save the settings of Patches/Rhythm Sets,
press [EXIT], save the Patch or Rhythm Set with its changed settings
first, and then save the Performance.
Internal Write Protect
The Internal Write Protect setting is provided to help prevent
the accidental overwriting of data in the USER memory. When
saving new data to the USER memory, you must turn off
Internal Write Protect. If you attempt to write data when it is
on, the following display will appear.
fig.05-01
Change the displayed ON to OFF and press [ENTER] to turn
Internal Write Protect off. Press [ENTER] once again, and the
data will be written into the USER memory.
Once you disable Internal Write Protect, it will remain disabled
until the XV-5050’s power is turned off.
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105
Chapter 5 Saving a Sound You Create
Chapter 5
Initializing a Sound (INIT)
This feature resets all of the parameters in the current Patch,
Performance, Rhythm Set or Rhythm Tone to their standard or
factory default settings (INITIALIZE).
*When you play a Patch, Performance, Rhythm Set or Rhythm Tone,
you’re actually playing it from the XV-5050’s Temporary memory —
the Patch, Performance, Rhythm Set or Rhythm Tone is instantly
copied into the Temporary memory when you select it. During
initialization, only the copy is affected, not the version saved in
memory. If you wish to restore all of the XV-5050’s settings to their
factory values, perform a Factory Reset. (p. 15)
1.
Select the Performance, Patch or Rhythm Set you wish to
initialize.
2.
Press [UTILITY] to make its indicator light.
3.
Press [ CURSOR] a few times to move the cursor to the
upper left of the display.
4.
Turn [VALUE] to select “INIT PATCH (RHYTHM, PERFORM).”
5.
Press [CURSOR ] to move the cursor to the lower right of
the display.
6.
Turn [VALUE] to select the Initialize mode.
7.
Press [ENTER].
When the initialization is finished, “Complete” appears
momentarily in the display.
8.
Press [EXIT] to return to the previous screen.
Protecting the Internal Memory
(PROTECT)
This feature helps prevent the accidental overwriting of USER
memory to ensure that Patch, Performance or Rhythm Set data is not
accidentally erased.
1.
Press [UTILITY] to make its indicator light.
2.
Press [ CURSOR] a few times to move the cursor to the
upper left of the display.
3.
Turn [VALUE] to select “WRITE PROTECT.”
4.
Press [CURSOR ] to move the cursor to the lower left of
the display.
5.
Turn [VALUE] to select the parameter you wish to set.
6.
Press [CURSOR ] to move the cursor to the lower right of
the display.
7.
Turn [VALUE] to select ON or OFF.
8.
Press [EXIT] to return to the previous screen.
ParameterValueDescription
ModeInitialize
Mode
DEFAULT,
PRESET
DEFAULT:
This resets the data cur-
rently in the Temporary memory to
the standard values called “initial da-
ta”: INIT PATCH, INIT PERFORM or
INIT SET. Use this setting when you
wish to create a sound from scratch.
PRESET:
This copies the factory set-
tings of the memory location in which
the Patch, Performance, Rhythm Set or
Rhythm Tone is stored into the Tem-
porary memory.
The Rhythm Set Initialize operation can also be used to initialize
the settings of only an individual percussion instrument sound
(key) that you specify. In this case, move the cursor to the lower
left of the display, and turn [VALUE] to select the percussion
instrument sound that you wish to initialize.
fig.05-06
ParameterValueDescription
TypeALL,
ONE KEY
ALL: The Rhythm Set will be initialized.
ONE KEY: A Rhythm Tone (key) will be
initialized.
KeyA0–C8When Type is set to “ONE KEY,” this se-
lects the Rhythm Tone (key) that will be
initialized.
*This will not appear when Type is
set to “ALL.”
Parameter
ValueDescription
InternalInternal Write
Protect
OFF, ONPrevents the Write operation
from accidentally overwriting
USER memory locations.
When this is set ON, the data
cannot be written. Data can be
only written when Internal
Write Protect is off. When the
XV-5050’s power is turned on,
this setting is automatically
turned on, — you will need to
turn it off before writing data
to the USER memory. It is also
possible to turn this setting off
during the Write procedure.
ExclusiveExclusive Pro-
tect
OFF, ONPrevents System Exclusive
messages received from an ex-
ternal MIDI device from re-
writing USER memory
settings. When this feature is
on, the data cannot be rewrit-
ten by System Exclusive mes-
sages. When it is off, data can
be rewritten, even if the Inter-
nal Write Protect setting is set
to ON.
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106
Chapter 5 Saving a Sound You Create
Transmitting Sound Settings
(XFER)
You can transmit sound generator or System settings that are in the
XV-5050’s memory to an external MIDI device or to the XV-5050’s
USER memory.
Transmitting to an External MIDI
Device
The act of transmitting Patch, Performance, Rhythm Set or System
data to an external MIDI device is called a “
Bulk Dump
.” You can
perform a bulk dump when two XV-5050s are connected to each
other, or when you wish to store Patch, Performance, Rhythm Set or
System data on an external MIDI device as a safety backup of your
XV-5050 data.
1.
Press [UTILITY] to make its indicator light.
2.
Press [ CURSOR] a few times to move the cursor to the
upper left of the display.
3.
Turn [VALUE] to select “XFER TO MIDI.”
4.
Use [ CURSOR]/[CURSOR ] and [VALUE] to select
the data to be transmitted.
5.
Press [ENTER] to execute the data transmission.
*To interrupt the transmission of data, press [EXIT].
6.
Press [EXIT] to return to the previous screen.
Select the data to be transmitted by choosing one of the combinations
shown below.
For example, if you wish to transmit the USER group Patches 001–
020, you would specify “Type: PATCH, Block: USER, From: 1, To:
20.”
*1:The current Performance
*2:The current Performance and the Patch or Rhythm Set assigned
to each Part of the Performance
Transmitting to User Memory
You can transmit Patch, Performance or Rhythm Set settings to the
USER memory.
1.
Press [UTILITY] to make its indicator light.
2.
Press [ CURSOR] a few times to move the cursor to the
upper left of the display.
3.
Turn [VALUE] to select “XFER TO USER.”
4.
Use [ CURSOR]/[CURSOR ] and [VALUE] to select
the data to be transmitted.
5.
Press [ENTER] to execute the data transmission.
*To interrupt the transmission of data, press [EXIT].
6.
Press [EXIT] to return to the previous screen.
You can specify the data to be transmitted by selecting the
appropriate combination shown below.
For example, if you wish to transmit only the PR-A group Patch 001,
specify “Type: PATCH, Block: PR-A, From: 1, To: 1.”
If the selected data is too large to fit completely into the transmission
destination, as much of the data as will fit will be transmitted,
starting at the first number of the specified transmission destination.
(Example)
Type: PATCH, Block: PR-A, From: 1, To: 5, Destination: 127
If data is transmitted with the above settings, only the two PR-A
group Patches 01 and 02 will be successfully transmitted — to USER
group Patches 127 and 128 — since you will have attempted to send
five Patches to the last two USER memory locations: 127 and 128.
Had you selected 124 as a destination, memory locations 124–128
would have accommodated all five Patches.
*1:Since there are no others, Performances other than PR-A/B
cannot be selected.
*2:Move data within the User Memory in block units. The Move
destination Patch is overwritten.
*3:Depends on the Wave Expansion Board installed
*If the number sent exceeds the capacity of the User memory, then
transmission of the data stops the moment the memory is filled.
Parameter
ValueDescription
Type
Data
Type
ALL,
PERFORM,
PATCH,
RHYTHM,
SETUP,
SYSTEM
Specifies the type of data to be transmitted.
ALL:
Performance, Patch, and Rhythm Set
PERFORM:
Performance
PATCH:
Patch
RHYTHM:
Rhythm Set
SETUP:
Setup
SYSTEM:
System
BlockSource
Block
USER,
TEMP,
CTRL
Specifies the source of the data to be transmit-
ted.
USER:
Data from USER memory will be
transmitted.
TEMP:
Data in Temporary memory will be
transmitted.
CTRL:
The status of Performances, includ-
ing Performance Bank Selects and Program
Changes, are not sent as Exclusive messag-
es, but rather as MIDI Channel messages.
For more on the transmitted MIDI channel
messages, refer to “MIDI Implementation.”
(p. 154)
Type
BlockFrom/To
ALLUSER
TEMP
PERFORMUSER1–64
TEMP (*1)
TEMP+PATCH (*2)
CTRL
PATCHUSER1–128
TEMP
RHYTHMUSER1–4
TEMP
SETUPUSER
SYSTEMUSER
Parameter
ValueDescription
Type
Data
Type
ALL,
PERFORM,
PATCH,
RHYTHM
Specifies the type of data to be transmit-
ted.
ALL:
Performance, Patch, and
Rhythm Set
PERFORM:
Performance
PATCH:
Patch
RHYTHM:
Rhythm Set
BlockSource
Block
USER,
PR-A–H,
XP-A/B
Specifies the source of the data to be
transmitted.
USER:
Data from USER memory will
be transmitted.
PR-A–H:
Preset A–H data will be
transmitted.
XP-A/B:
Data from a Wave Expan-
sion Board will be transmitted.
*XP-A/F can be selected only if the
corresponding Wave Expansion
Board is installed.
Destination1–***Sets the transmission destination to US-
ER. If the Type parameter has been set to
PERFORM, PATCH, or RHYTHM, you
must specify the first memory location
number of the transmission destination.
Type
BlockFrom/To
ALLPR-A, B (*1)
PERFORMUSER (*2)1–64
PR-A, B1–32
PATCHUSER (*2)1–128
PR-A–H1–128
XP-A, B (*3)
RHYTHMUSER (*2)1–4
PR-A–H1–2
XP-A, B (*3)
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107
Chapter 6
Chapter 6 Other Settings/Status Checks
Setting Procedure:
1.
Press [SYSTEM] to make its indicator light.
2.
Press [ CURSOR] a few times to move the cursor to the parameter group in the upper line of the display.
3.
Turn [VALUE] to choose the parameter group containing the parameter you wish to set up.
4.
Press [CURSOR ] to move the cursor to the parameter name in the lower-left corner of the screen.
5.
Turn [VALUE] to choose the parameter you wish to set.
6.
Press [CURSOR ] to move the cursor to the selected parameter’s value.
7.
Turn [VALUE] to choose the desired value.
8.
Press [EXIT] to return to the previous screen.
Making Overall Settings
By holding down [SHIFT] and pressing [SYSTEM], you can move directly to the LCD Contrast screen.
Selecting Common Controllers
These settings allow you to choose four MIDI controllers for global use when controlling the parameters of any Patch or Performance. The settings
in each Patch or Performance will determine whether the two controllers you choose here will actually be used. In each Patch orPerformance, you
will also need to specify the parameters to be controlled.
Parameter
ValueDescription
GENERAL
LCD Contrast
1–10This adjusts the contrast/brightness of the display. Higher values will make the characters darker.
PowerUp ModeLAST-ST,
DEFAULT
Sets the condition of the XV-5050 when its power is turned on.
LAST-ST:
The XV-5050 will power up exactly as it was when it was turned off.
DEFAULT:
The XV-5050 will be ready to play Patch “US:001.”
Master Level0–127Adjusts the volume of the entire XV-5050.
Clock SourceSystem Clock
Source
INT, MIDI,
USB
Specifies the tempo clock of the system.
INT:
The internal clock
MIDI:
An external clock received via MIDI IN connector
USB:
An external clock received via USB connector
System Tempo20–250Sets the system tempo. * When Clock Source is set to “MIDI” or “USB,” the tempo will synchronize to the
clock messages received from an external device, so the tempo value will be ignored.
Mix/ParallelOutput Mix/
Parallel
MIX,
PARALEL
MIX:
Signals that are set to be output from jacks other than the A (MIX) OUTPUT jacks are mixed and output
from the A (MIX) OUTPUT jacks.
This setting allows you to quickly route everything through headphones when you are creating sounds,
or to combine all of your sounds into two outputs when sending the XV-5050’s signal to a mixer that has
only two channels. When MIX is selected, sound routed to the INDIVIDUAL OUTPUT 3 jack is sent to the
left A (MIX) OUTPUT jack, and sound routed to the INDIVIDUAL OUTPUT 4 jack are sent to the right A
(MIX) OUTPUT jack.
PARALEL:
Sounds are routed to output jacks according to their output settings.
Patch RemainPatch Remain
Switch
OFF, ONThis specifies whether you want the notes that are sounding to remain (ON) or turn off (OFF) when you select
a new Patch or Rhythm Set in Patch mode. In addition, when “ON” is selected, the Volume and Pan data, and
the Key Mode and other settings received via MIDI (CC 5, 7, 10, 65, 68, 71–74, RPN 0, 1, 2, MONO ON, POLY
ON) are passed on.
Rhy EditKeyRhythm Edit
Key
PANEL,
PNL&MIDI
You can set whether you’ll be able to select percussion instruments for editing only by pressing the XV-5050’s
front-panel buttons or also by pressing keys on a connected MIDI keyboard.
PANEL:
Percussion instrument sounds can be selected only by using the XV-5050’s TONE SELECT [1]–[4].
PNL&MIDI:
Percussion instrument sounds can be selected using the XV-5050’s TONE SELECT [1]–[4] and
by pressing a key on a connected MIDI keyboard.
Output Gain-12, -6, 0, +6,
+12 dB
This adjusts the output gain from the XV-5050’s Analog Out and Digital Out. When, for example, there are
relatively few voices being sounded, boosting the output gain can let you attain the most suitable output level
for recording and other purposes.
Parameter
ValueDescription
CONTROL
Sys Ctrl Src1–4
System Control
Source 1–4
OFF, CC01–31, 33–95, BEND, AFTER
OFF:
No controller is used.
CC01–95:
Controller numbers 1–95 (except for 32)
BEND:
Pitch Bend
AFTER:
Aftertouch
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Chapter 6 Other Settings/Status Checks
Establishing the MIDI and USB Settings
Setting the MIDI Channel
The XV-5050 produces sound, and can change its internal settings in response to MIDI messages that it receives from other devices. In order for
this to occur, the MIDI transmission channels of the external device must match the MIDI reception channels of the XV-5050.
Making Global Settings
Specifying the Reception Status for Each Tone
You can enable or disable the response to received MIDI messages for each Part of a Performance, each Tone of a Patch, and eachRhythm Tone of
a Rhythm Set.
For more information about setting the MIDI response of Parts in a Performance, check out “Establishing a Part’s MIDI Settings (p. 67).”
For more information about the settings for a Patch, refer to “Using Controllers to Change How Sounds Are Played (CONTROL)/CTRL Rx MIDI
(Tone control receive MIDI)” (p. 51).
For more about setting the MIDI response of Rhythm Tones in a Rhythm Set, refer to “Other Settings (CONTROL)/Rx MIDI (Receive MIDI)” (p.
61).
Connecting Two or More XV-5050s to Increase Polyphony
The Stack feature allows you to combine two or more XV-5050 units to increase the number of voices that can be played simultaneously. You can
connect and use up to eight XV-5050s.
fig.6-01.e
Parameter
ValueDescription
MIDI&USB
Control Channel
Performance Con-
trol Channel
1–16, OFFWhen changing Performances by MIDI messages from the external device, set the transmit channel
of the external device and this channel to the same channel.
*When you perform a Factory Reset operation, Control Channel is reset to “16.”
Patch Rx ChannelPatch/Rhythm Set
Receive Channel
1–16Set this channel to use an external MIDI device (such as a MIDI keyboard) for playing Patches and
Rhythm Sets, or to have Patches or Rhythm Sets changed as the result of MIDI messages.
Parameter
ValueDescription
MIDI&USB
Rx Prog
Change
Receive Program
Change Switch
OFF, ONSpecifies whether Program Change messages will be received (ON), or not (OFF).
Rx Bank SelectReceive Bank Select
Switch
OFF, ONSpecifies whether Bank Select messages will be received (ON), or not (OFF).
Rx GM1 System
On
Receive GM-ON Ex-
clusive Switch
OFF, ONSpecifies whether GM-ON (General MIDI System On) messages will be received (ON), or not (OFF).
Rx GM2 System
On
Receive GM2-ON
Exclusive Switch
OFF, ONSpecifies whether GM Level2-ON (General MIDI Level 2 System On) messages will be received
(ON), or not (OFF).
Rx GS ResetReceive GS Reset Ex-
clusive Switch
OFF, ONSpecifies whether GS Reset messages will be received (ON), or not (OFF).
Device IDDevice ID Number17–32When transmitting or receiving System Exclusive messages, set this parameter to match the device
ID number of the other MIDI device.
Rx ExclusiveReceive System Ex-
clusive Switch
OFF, ONSpecifies whether System Exclusive messages will be received (ON), or not (OFF).
Tx Edit DataTransmit Edit Data
Switch
OFF, ONWhen Patch, Performance or Rhythm Set settings are modified, you can specify whether the modi-
fied settings will be transmitted as System Exclusive data (ON), or not (OFF).
XV-5050 (1 of 3)XV-5050 (2 of 3)XV-5050 (3 of 3)
THRUINTHRUINMIDI IN
MIDI OUT
123
456
789
10
Stack Mode: 3
Stack Number: 1
Stack Mode: 3
Stack Number: 2
Stack Mode: 3
Stack Number: 3
Usage with Three Connected Units
Keyboard
Setting value
Sequence of sound played
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Chapter 6 Other Settings/Status Checks
Chapter 6
*The Stack feature will not operate when using Patches in which Key Mode Asgn is set to “MONO” or whose Portamento Switch is “ON” (p. 51), or for
Rhythm Sets. Patches for which the Key Mode Asgn is “MONO” or whose Portamento Switch is “ON” will be sounded by the first XV-5050, and Rhythm
Sets will be sounded by the second XV-5050.
Making USB-Related Settings
*Changes in the settings for these parameters won’t take effect until you’ve saved the changes (p. 110), and then switched off the power and turned it on
again.
Setting the Way In Which Sounds Are Previewed
You can preview (p. 18) a Patch in any of three ways: “PHRASE” (the Patch plays a phrase), “CHORD” (the Patch plays a chord), or “SINGLE”
(the Patch plays a series of notes).
Making the Equalizer Settings
You can set the equalization for each of the output jacks.
ON and OFF are applied to all of the equalizers as a group. (p. 69)
Parameter
ValueDescription
MIDI&USB
Stack Mode
OFF, 2–8When using more than one XV-5050, set this parameter to 2–8. When not using the Stack feature, set the parameter to OFF.
If Stack mode is turned off, the Stack feature will not operate, and each XV-5050 will attempt to sound all of the note messages
that it receives.
Stack Number1–8When the Stack feature is enabled, this parameter selects the XV-5050 that is to function as the primary/first unit—this is the
XV-5050 that will sound the first 64 voices.
Parameter
ValueDescription
MIDI&USB
MIDI-USB Thru
OFF, ON
OFF:
MIDI messages arriving at the MIDI IN and the USB connectors are all sent to the sound gen-
erator.
ON:
MIDI messages arriving at the MIDI IN connector are output as is from the USB connector,
while the MIDI messages that arrive at the USB connector are output through the MIDI OUT con-
nector.
*When this parameter is set to “ON,” the sound generator receives MIDI messages only from the
USB connector. For the sound generator to receive MIDI messages from the MIDI IN connector,
the MIDI Thru function on your computer must be set to “ON.”
USB DescriptUSB DescripterVENDER, GENERIC
VENDER:
Select this when using the supplied driver with a USB connection.
GENERIC:
Select this when using a generic USB driver included with the OS with a USB connection.
Parameter
ValueDescription
PREVIEW
Mode
Preview ModeSINGLE,
CHORD,
PHRASE
SINGLE:
The notes specified by Key Note 1–4 sound one after another.
CHORD:
The notes specified by Key Note 1–4 play together as a chord.
PHRASE:
The Phrase associated with the Patch’s type/category plays.
Key Note 1–4Preview Key
Note 1–4
C-1–G9Specifies the four notes that sound during a preview when “SINGLE” or “CHORD” is selected for Mode.
Velocity Note
1–4
Preview Veloci-
ty Note 1–4
0–127Specifies the volume of the four notes that sound when “SINGLE” or “CHORD” is selected for Mode.
Parameter
ValueDescription
EQ
EQ1–4 Low Freq
Equalizer 1–4 Low Frequency200, 400 HzSelects the frequency of the low range.
EQ1–4 Low GainEqualizer 1–4 Low Gain-15– +15 dBSpecifies the low-frequency gain (amount of boost or cut).
EQ1–4 Hi FreqEqualizer 1–4 High Frequency2000, 4000, 8000 HzSelects the frequency of the high range.
EQ1–4 Hi GainEqualizer 1–4 High Gain-15– +15 dBSpecifies the high-frequency gain (amount of boost or cut).
Sound
Generator
+
USB
MIDI IN
MIDI OUT
XV-5050
Sound
Generator
+
USB
MIDI INMIDI OUT
XV-5050
MIDI-USB Thru = OFFMIDI-USB Thru = ON
Computer
MIDI Thru: ON
* MIDI messages received at MIDI IN are routed
through the computer to the sound generator.
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Chapter 6 Other Settings/Status Checks
Adjusting the Overall Tuning of the XV-5050
Master Tune and Master Key Shift
The Master Tune and Master Key Shift settings are common to all Patches, Performances, Rhythm Sets, and the GM Mode.
Scale Tune
The XV-5050 allows you to use temperaments other than equal temperament.
One set of Scale Tune settings can be created in Patch mode. In Performance mode, each Part can have its own Scale Tune settings.
*The selected scale applies to MIDI messages received from an external MIDI device as well as to local sound generation.
Confirming the Current Status
On this display, you can view the names of the installed Wave Expansion Boards and check the version of the XV-5050’s system program.
Saving the System Settings
1.
While [SYSTEM]’s indicator lights, press [UTILITY] to make its indicator light.
2.
Press [ENTER] to save the current settings.
If the following display appears, turn [VALUE] to change the displayed ON to OFF.
After pressing [ENTER] to turn off the protect, press [ENTER] again to save the settings.
fig.05-01
*For more details on WRITE PROTECT, refer to page 105.
Parameter
ValueDescription
TUNE
Master Tune
415.3–466.2 HzAdjusts the overall tuning of the XV-5050. The setting is expressed as the frequency played by the A4 key.
Master Key Shift-24– +24Shifts the overall pitch of the XV-5050 in semitone steps.
Parameter
ValueDescription
TUNE
Scale Tune
Scale Tune SwitchOFF, ONTurn this on when you wish to use a tuning scale other than equal temperament.
Key C–B ScaleKey Scale C–B-64– +63Adjusts the pitch of each note in one-cent steps (1/100th of a semitone) relative to its equal-tempered pitch.
Parameter
Description
INFO
XA, XB
Expansion Board A, BShows the names of Wave Expansion Boards installed in slots EXP A/B. Slots without any boards installed are
shown as “----------------.”
Program VersionShows the version of the XV-5050’s system program.
<Equal Temperament>
This scale divides an octave into 12 equal parts using the tuning
system that is most widely used in Western music.
<Pure Temperament>
With this tuning, the three fundamental chords sound richer
compared to equal temperament. This effect only applies to one
key, and transposition can produce less-pleasing results.
<Arabian Scale>
In this scale, E and B are a quarter note lower, and C#, F# and G#
are a quarter-note higher compared to equal temperament. The
intervals between G and B, C and E, F and G#, Bb and C#, and Eb
and F# have a natural third-the interval between a major third and
a minor third. On the XV-5050, you can use Arabian temperament
in the three keys of G, C and F.
Example: Tonic C
Note nameEqual tem-
perament
Pure temper-
ament
Arabian
scale tem-
perament
C00-6
C#0-8+45
D0+4-2
Eb0+16-12
E0-14-51
F0-2-8
F#0-10+43
G0+2-4
G#0+14+47
A0-160
Bb0+14-10
B0-12-49
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Chapter 7
Chapter 7 Using the XV-5050 as a General MIDI Sound Module
The XV-5050 features a GM mode-a convenient way to play back or
create GM score data (music files for General MIDI sound module).
You’re able to play back commercial GM score data releases and
even modify various parameter settings for enhanced musical
expression.
Entering GM Mode
Basically GM mode is similar to a special kind of Performance in
which a General MIDI System Rhythm Set is assigned to Part 10, and
General MIDI System Patches are assigned to other Parts.
But however, you can’t store GM mode settings in user memory.
fig.7-01.e
The GM PLAY page shows a Patch or Rhythm Set assigned to each
Part.
Each time you enter GM mode, the GM Drum Set is assigned to Part
10, and Piano 1 is assigned to other Parts. You can also select other
GM Patches and GM Drum Sets for each Part to match the
performance.
1.
While holding down [SHIFT], press [PERFORM] to blink its
indicator.
GM PLAY page appears.
2.
To change the current Part, press [ PART] or [PART ].
3.
To change the GM Patch or GM Rhythm Set assigned to the
Part, perform the same procedure as you do when you
select a Patch or Rhythm Set.
Initializing the Sound Generator for
General MIDI System Basic Settings
To play back a GM score correctly, the sound generator must first be
initialized to basic GM system settings. The XV-5050’s sound
generator is initialized in the following situations:
•When the XV-5050 is switched to GM mode
•When it receives a GM System On message from an external
MIDI device
•When a GM System On message is encountered in the song data
being played back
•When the XV-5050’s power is turned on
•When you execute the GM Initialize function
Playing Back a GM Score
When the XV-5050 is in GM mode, it plays back GM scores correctly.
But beyond this, the XV-5050 provides many extended features not
defined in GM System specifications, and if you create music files
using these extended features, your song may not play back
correctly on other GM-compatible sound modules.
The beginning of a GM score normally contains a GM System On
message. So if you play back a GM score starting in the top of a
song, XV-5050 will switch itself to GM mode. But if you play
back a GM score starting in the middle of a song, XV-5050 may
not switch itself to GM mode, and the GM score may not play
back correctly. So to be safe, it’s recommended to manually set
the XV-5050 to GM mode before playing back a GM score.
although the XV-5050 can also be compatible with the GS format
by receiving a GS Reset MIDI message, Roland’s Sound Canvas
Series (including the SC-8850 and SC-8820) features a different
sound module system and extended tone map, you may be
unable to get MIDI data (GS music data) created especially for
use only with the Sound Canvas series of devices to play back
properly.
Muting a Specific Part
When you switch over to GM mode, all Parts will be set to receive
MIDI messages. To turn off a specific Part so that it will not sound,
set the Receive Switch to OFF for the Part. (p. 113)
Modifying GM Mode Settings
GM mode also offers parameters that you can modify for each Part.
You can modify settings like effects, pan and level to customize a
GM score playback to your preference.
You cannot store GM mode settings in internal memory (User
Memory).
1.
While holding down [SHIFT], press [PERFORM] to enter GM
mode.
2.
Press [EDIT] to light its indicator.
3.
Press [ CURSOR] a few times to move the cursor to the
parameter group in the upper line of the display.
4.
Turn [VALUE] to choose the parameter group containing the
parameter you wish to set up.
5.
Press [CURSOR ] to move the cursor to the parameter
name in the lower-left corner of the screen.
6.
Turn [VALUE] to choose the parameter you wish to set.
7.
Press [CURSOR ] to move the cursor to the selected
parameter’s value.
8.
Turn [VALUE] to choose the desired value.
9.
Press [EXIT] to return to the GM PLAY screen.
Current Part
GM/GM2 System On Message
The GM/GM2 System On messages put the unit in a state that
conforms to the General MIDI System and initializes a General
MIDI-compatible sound generator.
If the Rx GM On/Rx GM2 On parameter (SYSTEM/MIDI/
SYSTEM MIDI) is set OFF, General MIDI/General MIDI 2
System On messages cannot be received.
ValueParameter
Parameter Group
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Chapter 7 Using the XV-5050 as a General MIDI Sound Module
Making Effects Settings in GM Mode
(EFFECTS)
In GM mode, a GM-exclusive Chorus and Reverb can be used.
Chorus and Reverb can be set independently.
Chorus:
Adds depth and spaciousness to the sound.
Reverb:
Adds the reverberation characteristics of halls or
auditoriums.
In GM mode, you cannot use Multi-effects.
The XV-5050’s onboard effects can be turned on/off as a whole.
For details, refer to “Turning Effects On/Off” (p. 69).
Basic Process of Making Effects Settings
When applying effects in GM mode, the following procedure is used
to make the settings.
1.
Setting the Output Method of the Direct Sound (Output
Assign)
The settings made here determine for each Part whether or not
the jack used to output the sound, and the type of output (stereo
or mono).
2.
Setting the Amount of Each Effect Applied (Send Level)
Sets the level (volume) of each effect signal to be sent for each
Part.
3.
Making Chorus Settings
Select the Chorus type to be used, and set each of the parameters
for the selected Chorus.
4.
Setting the Output Destination for the Sounds Passing
Through the Chorus
Select the output jack from which the sounds passing through
the Chorus will be output. You can also apply Reverb to the
sound that passes through Chorus.
5.
Making Reverb Settings
Select the Reverb type to be used, and set each of the parameters
for the selected Reverb.
6.
Setting the Output Destination for the Sounds Passing
Through the Reverb
Select the output jack from which the sounds passing through
the Reverb will be output.
OUTPUT
If the Mix/Parallel parameter (p. 107) is set to MIX, all sounds are output from the OUTPUT A (MIX) jacks in stereo.
Chorus and Reverb are output in mono at all times.
GM CHORUS
If the Mix/Parallel parameter (p. 107) is set to MIX, all sounds are output from the OUTPUT A (MIX) jacks in stereo.
Parameter
ValueDescription
EFFECTS
Output Asgn
Output assignOUTPUT A/BSets the direct sound’s output method for each Part.
OUTPUT A:
Output to the OUTPUT A (MIX) jacks in stereo.
OUTPUT B:
Output to the OUTPUT B jacks in stereo.
Output LevelOutput level0–127Sets the direct sound's volume for each Part.
Chorus SendChorus send level0–127Adjusts the amount of Chorus for each Part. If you don’t want to add the Chorus effect, set it to 0.
Reverb SendReverb send level0–127Adjusts the amount of Reverb for each Part. If you don’t want to add the Reverb effect, set it to 0.
Parameter
ValueDescription
EFFECTS
Cho TypeChorus typeCHORUS 1–4,
FB CHORUS,
FLANGER,
SHORT DLY,
SHORT FB
Selects the type of Chorus.
CHORUS 1–4:
Chorus 1–4
FB CHORUS:
Feedback chorus
FLANGER:
Flanger
SHORT DLY:
Short delay
SHORT FB:
Short feedback
Chorus RateChorus rage0–127Specifies the modulation frequency of the Chorus sound.
Chorus DepthChorus depth0–127Sets the depth of the modulations of the Chorus sound.
Chorus FeedbackChorus feedback level0–127Adjusts the amount of Chorus sound that is returned (fed back) to the Chorus. Higher set-
tings will create a more complex Chorus effect.
Chorus Rev SendChorus reverb send level0–127Adjusts the amount of Reverb to be applied to the sound routed through Chorus. If you
don’t want to add the Reverb effect, set it to 0.
Chorus Output
Asgn
Chorus output assignA, BSpecifies how the sound routed through Chorus will be output.
A:
Output to the OUTPUT A (MIX) jacks in stereo.
B:
Output to the OUTPUT B jacks in stereo.
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Chapter 7 Using the XV-5050 as a General MIDI Sound Module
Chapter 7
GM REVERB
If the Mix/Parallel parameter (p. 107) is set to MIX, all sounds are output from the OUTPUT A (MIX) jacks in stereo.
Making Settings for Receiving MIDI (MIDI)
These parameters determine how each Part will transmit and receive MIDI messages.
Making Settings for Each Part (PART)
Here you can select the GM Patch/Rhythm Set assigned to each Part, and set the volume, pan, and pitch of each Part.
Parameter
ValueDescription
EFFECTS
Rev Type
Reverb typeSMALL ROOM,
MEDIUM ROOM,
LARGE ROOM,
MEDIUM HALL,
LARGE HALL, PLATE,
DELAY, PAN DELAY
Selects the type of Reverb.
SMALL ROOM:
Reverb resembling that obtained in a small room.
MEDIUM ROOM:
Reverb resembling that obtained in a somewhat larger room.
LARGE ROOM:
Reverb resembling that obtained in a large room.
MEDIUM HALL:
Reverb resembling that obtained in a medium-sized concert hall.
LARGE HALL:
Reverb resembling that obtained in a large concert hall.
PLATE:
Plate-type reverb effect.
DELAY:
Conventional delay effect
PAN DELAY:
Delay effect with echoes that pan left and right
Reverb TimeReverb time0–127Adjusts the length of the Reverb time.
Reverb Output
Asgn
Reverb output assignA, BSpecifies how the sound routed through Reverb will be output.
A:
Output to the OUTPUT A (MIX) jacks in stereo.
B:
Output to the OUTPUT B jacks in stereo.
Rev Output LevelReverb output level0–127Output level of reverberation
Parameter
ValueDescription
MIDI
Rx Channel
MIDI receive channel1–16, OFFSets the MIDI receive channel for each Part.
Rx SwitchReceive switchOFF, ONSpecifies whether each Part will receive Note messages (ON), or not (OFF).
Mute SwitchMute switchOFF, MUTEMute Sw temporarily mutes (ON) or releases the mute (OFF) for the performance of each Part.
*The Mute Sw parameter does not turn the Part off, but rather mutes the sound by setting the
volume to 0. Therefore, MIDI messages are still received.
Parameter
ValueDescription
PART
Part Type
Part typePATCH,
RHYTHM
Sets the assignment of a GM Patch (PATCH) or GM Rhythm Set (RHYTHM) to each of the Parts.
NumNumber001–256 / 001–
009
Selects the desired GM Patch or Rhythm Set by its number.
*In GM mode, Patches or Rhythm Sets other than the GM Patches and Rhythm Sets in PR-H can-
not be selected. Furthermore, GM Patches and Rhythm Sets cannot be edited.
LevelLevel0–127Adjusts the volume of an individual Part. This setting’s main purpose is to adjust the volume bal-
ance between Parts.
PanPanRND, L63–63RAdjusts the pan of each Part. L64 is far left, 0 is center, and 63R is far right.
Coarse TuneCoarse tune-48– +48Adjusts the pitch of the Part’s sound up or down in semitone steps (+/-4 octaves).
Fine TuneFine tune-50– +50Adjusts the pitch of the Part’s sound up or down in 1-cent steps (+/-50 cents).
Cutoff OffsetPart cutoff offset-6– +63Adjusts the cutoff frequency for the GM Patch or Rhythm Set assigned to a Part.
Resonance OffsetPart resonance offset-64– +63Adjusts the Resonance for the GM Patch or Rhythm Set assigned to a Part.
Attack OffsetPart attack time offset-64– +63Adjusts the TVA Envelope Attack Time for the GM Patch or Rhythm Set assigned to a Part.
Release OffsetPart release time off-
set
-64– +63Adjusts the TVA Envelope Release Time for the GM Patch or Rhythm Set assigned to a Part.
Bend RangePitch bend range0–24Specifies the amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend
Lever is moved. The amount of change when the lever is tilted is set to the same value for both
left and right sides.
Mono/PolyPart mono/polyMONO, POLYSet Mono/Poly to MONO when the GM Patch assigned to the Part is to be played monophonical-
ly, or to MONO when the GM Patch is to be played polyphonically.
*For the Part to which the GM Rhythm Set is assigned, this setting will be ignored.
Portamento SwPart portamento
switch
OFF, ONDetermines whether the Portamento effect will be applied (ON) or not (OFF). Turn this parameter
ON when you want to apply Portamento and OFF when you don’t.
Portamento TimePart portamento time0–127Adjusts the time over which the pitch will change. Higher settings will cause the pitch change to
the next note to take more time.
What is Portamento?
Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key. With the Mono/Poly parameter
set to MONO, portamento is especially effective when simulating playing techniques such as a violin glissandos. Portamento can also be
applied when this parameter is polyphonic.
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Chapter 8 Examples of Applications Using the XV-5050
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