XV-5080 OWNER’S MANUAL OWNER’S MANUAL Thank you, and congratulations on your choice of the Roland XV-5080. Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY INSTRUCTIONS” (p. 2), “USING THE UNIT SAFELY” (p. 3), and “IMPORTANT NOTES” (p. 5). These sections provide important information concerning the proper operation of the unit.
CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
USING THE UNIT SAFELY Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly. Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly. * Material damage refers other adverse effects respect to the home furnishings, as well animals or pets.
• Do not force the unit’s power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cords—the total power used by all devices you have connected to the extension cord’s outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through. ....................................................................................................
IMPORTANT NOTES In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages 2 and 3, please read and observe the following: Power Supply Additional Precautions • Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system). • Before connecting this unit to other devices, turn off the power to all units.
Contents USING THE UNIT SAFELY......................................................................3 IMPORTANT NOTES ...............................................................................5 Features .................................................................................................11 Panel Descriptions................................................................................12 Front Panel............................................................................................
Signal (PART) Flow .................................................................................................................... 117 Parameters.................................................................................................................................... 117 Digital Connections Using R-BUS........................................................................................................ 119 Settings for the Digital Interface ([SYSTEM/UTILITY] - [F2 (Output)]) ...............
Editing a Patch or Rhythm Set in the Performance Mode................................................................ 167 Palette Function........................................................................................................................... 167 Chapter 6 Creating Rhythm Sets.......................................................168 How Percussion Instruments Are Organized ....................................................................................
Transmitting to User Memory................................................................................................... 204 Protecting the Internal Memory (Protect)........................................................................................... 205 Resetting All Settings to Default Factory Settings (Factory) ............................................................ 206 Registering Favorite Patches in the FAVORITE LIST .....................................................................
SCSI Devices That Can Be Used................................................................................................ 239 What you need to know before making connections........................................................................ 239 Types of SCSI cables and SCSI connectors .............................................................................. 239 About SCSI Chains.....................................................................................................................
Features 128-Voice Polyphony and 32Part Multitimbrality The XV-5080 is a 32-part multitimbral sound generator that produces up to 128 simultaneous polyphonic voices. It provides ample polyphony, even with Patches containing multiple Tones.
Panel Descriptions Front Panel fig.0-001 E D F B G A C A VOLUME Knob (PHRASE PREVIEW) This adjusts the volume from the A (MIX) OUTPUT jacks and PHONES jacks. The volume from the OUTPUT B, C and D jacks cannot be adjusted. You can press the knob to listen to the XV-5080 without using any external devices. (Phrase Preview function; p. 16) PHONES Jack Headphones are plugged in here. (Quick Start; p. 11) H I The function name is shown in the display.
Panel Descriptions E (MODE) H [PERFORM] (Performance) [SHIFT] Pressed to get into Performance mode. (p. 17) This is used in combination with other buttons. Holding down this button changes the functions of other buttons. Press this button while holding down [SHIFT] to switch to Part Play mode, enabling you to make changes to the settings for the Patch and Rhythm Set assigned to each Part. (p. 167) [PATCH] [UNDO] Use this to restore a modified parameter value to its original setting.
Panel Descriptions Rear Panel fig.0-002 K O (OUTPUT) AC IN (AC Inlet) 1–8 INDIVIDUAL OUTPUT Jacks Connect the included power cable here. (Quick Start; p. 11) These jacks output audio signals in mono to an amp or mixer. (Quick Start; p. 11) L (MIDI) P (DIGITAL AUDIO OUT) MIDI Connectors (IN 1/2, OUT, THRU) These connectors connect the XV-5080 with other MIDI devices, enabling the sending and receiving of MIDI messages. (Quick Start; p. 11) IN 1, 2: Receive messages from other MIDI devices.
Panel Descriptions S/P DIF OUT Connector The XV-5080 features both optical and coaxial digital out connectors (conforming to S/P DIF). S/P DIF: This is a digital interface format used for consumer digital audio devices. * About the Optical Connector Protecting Cap • If you remove the protecting cap, be sure to keep in a safe place to prevent loss. • Always place the protecting cap on the optical connector when the connector is not in use.
Chapter 1 Selecting and Playing a Sound Auditioning Sounds on the XV-5080 (Phrase Preview) The Phrase Preview feature allows you to audition Patches on the XV-5080 even when it’s not connected to a MIDI keyboard or sequencer. You can preview a Patch using a Phrase that’s appropriate to the Patch’s type or category. 1. Press [PATCH], getting its indicator to light. 2. Turn the VALUE dial, or press [INC]/[DEC] to select the desired Patch. 3. Press and hold the VOLUME knob.
Chapter 1 Selecting and Playing a Sound The XV-5080 produces sound in response to MIDI messages that it receives from an external MIDI device such as a MIDI keyboard or sequencer. In order for this to occur, the MIDI transmission channels of the external device must match the MIDI reception channels of the XV-5080. For details on setting the MIDI transmission channels of your external MIDI device, refer to its owner’s manual. Chap.
Chapter 1 Selecting and Playing a Sound sound generators are capable of reliably playing back music files that carry either the General MIDI or General MIDI 2 logo. In some cases, the conventional form of General MIDI, which does not include the new enhancements, is referred to as “General MIDI 1” as a way of distinguishing it from General MIDI 2.
Chapter 1 Selecting and Playing a Sound Chap.1 Selecting a Patch If you want to get even more information, carry out the following operation. 3. Press the VALUE dial. Basic Procedure for Selecting a Patch The Group List window will appear. Turn the VALUE dial or press [INC]/[DEC] to select the desired Patch. 5. Press [F6 (Select)] to call up the Category List window.
Chapter 1 Selecting and Playing a Sound The following categories can be selected. Category Group — Category Contents NO ASSIGN No assign Rhythm&SFX PRC PERCUSSION SFX SOUND FX Percussion Sound FX BTS BEAT&GROOVE Beat and Groove DRM DRUMS Drum Set CMB COMBINATION Other Patches which use Split and Layer Piano PNO AC.PIANO Acoustic Piano EP EL.PIANO Electric Piano Internal organization Keys&Organ KEY KEYBOARDS Other Keyboards BEL BELL Bell, Bell Pad (Clav, Harpsichord etc.
Chapter 1 Selecting and Playing a Sound The Patches and Rhythm Sets in each library correspond to Bank Select numbers as follows. Patches By receiving MIDI messages, the XV-5080 can switch Patches (including the Patches for each Part of a Performance) or Rhythm Sets. Patch Patch Group Number Number In Patch or Rhythm Set modes USER 001–128 87 00 001–128 PR-A 001–128 87 64 001–128 1. Press [PATCH] — or [RHYTHM] if you wish to select a Rhythm Set — to make the button’s indicator light. 2.
Chapter 1 Selecting and Playing a Sound Rhythm Sets 5. Transmit the Program Change value. Rhythm Set Rhythm Set Bank Select Program Group Number Number Number MSB LSB The desired Performance will be selected. * When the XV-5080 receives a Program Change message without Bank Select messages, the corresponding Performance in the currently selected group or bank will be chosen.
Chapter 1 Selecting and Playing a Sound Chap.1 212), modify the third byte to the appropriate value when transmitting the above exclusive message. 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 [ ]/[ ], the pitch will change in oneoctave steps. You can adjust a Patch’s pitch by as much as +/ - 3 octaves. fig.01-004.
Chapter 2 Using the XV-5080 Effects The XV-5080 contains four independent effects units. Patch Mode Settings Multi-effects The Multi-effects offers 90 different effects. In addition to effects consisting of only one effect, such as distortion and delay, the 90 types also include a number of compound effects, which are formed by combining a number of effects.
Chapter 2 Using the XV-5080 Effects The screen appears as shown below, according to the settings values. fig.02-008.e_70 Chap.2 • For MFX fig.02-004.e_70 * If you turn off the power or select another Patch while the “*” symbol is displayed, your new Patch settings will be lost. If you wish to keep them, perform the Write operation. (p. 194) • For A–D fig.02-005.e_70 * With Multi-Partial Patches, pressing [F6 (MIDISel)] allows you to select the Partial to be edited from the MIDI keyboard.
Chapter 2 Using the XV-5080 Effects Dry Send Level Range: 0–127 This sets the level of the signal sent to the output destination set with Output Assign. Chorus Send Level 0–127 Sets how much of the Tone is sent to the Chorus. Pressing [F3 (MFX Ctl)] in the Effects General page calls up the MFX Control page, in which you can make the following settings.
Chapter 2 Using the XV-5080 Effects HPF: Frequencies lower than the selected cutoff frequency value are eliminated. REV: The Chorus output is sent only to the Reverb. fig.02-010.e Chorus Reverb OUTPUT M+R: The Chorus output is sent to the OUTPUT jacks and to the Reverb. fig.02-011.e Chorus Input Chorus Cutoff freq (Cutoff Frequency) *1 Sets the cutoff frequency when a specific frequency band is cut off by a filter.
Chapter 2 Using the XV-5080 Effects Making Reverb Settings These settings allow you to select the desired type of Reverb, its characteristics, and the pair of OUTPUT jacks to which the Reverb unit’s stereo output is routed. On the Effects General page, set the following parameters. Reverb Type Selects the type of Reverb. 0 (Off): Reverb is not used. 1 (Revrb): Normal Reverb 2 (Room): This reverb simulates typical room acoustic reflections.
Chapter 2 Using the XV-5080 Effects LF Damp Gain -36–0 dB Chap.2 Adjusts the amount of damping applied to the frequency range selected with LF Damp. With a setting of “0,” there will be no reduction of the reverb’s low-frequency content. HF Damp Freq (LF Damp Frequency) *3 Specifies the frequency above which the high-frequency content of the reverb sound will be reduced, or “damped.” HF Damp Gain -36–0 dB Adjusts the amount of damping applied to the frequency range selected with HF Damp.
Chapter 2 Using the XV-5080 Effects Performance Mode Settings Three different Multi-effects can be used in a Performance. used, chorus and reverb sounds are output in stereo according to the Chorus Output Assign and Reverb Output Assign settings. Select which of these three Multi-effects to use with Part Output MFX Select. With this parameter, the same Multieffects are applied to all selected Parts.
Chapter 2 Using the XV-5080 Effects A “*” symbol will appear at the left of the Performance name, indicating that its settings have been modified. Part Reverb Send Level 0–127 Sets how much of the Part’s sound is sent to the Reverb. Chap.2 fig.02-018.e_70 Making Multi-Effects Settings * If you turn off the power or select another Performance while the “*” symbol is displayed, your new Performance settings will be lost. If you wish to keep these settings, perform the Save operation. (p.
Chapter 2 Using the XV-5080 Effects * When you press [F2 (MFX)] once again, the MFX Param page will reappear. Making Chorus Settings MFXA–C Control 1–4 Source The XV-5080’s Chorus effect unit can also be used as a stereo delay unit. Select the Control Source to be used for changing the Multieffects parameters, and set the Sens and parameters to be changed by that Control Source.
Chapter 2 Using the XV-5080 Effects • For Type: 2 (DELAY) • For Type: 1 (CHORUS) Sets the delay time for the delay located at the center of the stereo field. Rate (Chorus Rate) 0.05–10.00 Hz Center (Delay Center) 200–1000 ms, Note Adjusts the modulation speed of the chorus effect. Left (Delay Left) 200–1000 ms, Note Depth (Chorus Depth) 0–127 Sets the delay time for the delay located at the left side of the stereo field. Adjusts the modulation depth of the chorus effect.
Chapter 2 Using the XV-5080 Effects Making Reverb Settings These settings allow you to select the desired type of Reverb, its characteristics, and the pair of OUTPUT jacks to which the Reverb unit’s stereo output is routed. On the Effects General page, set the following parameters. Reverb Type Selects the type of Reverb. 0 (Off): Reverb is not used. 1 (Revrb): Normal Reverb 2 (Room): This reverb simulates typical room acoustic reflections.
Chapter 2 Using the XV-5080 Effects • For Type: 2 (SRV ROOM)/3 (SRV HALL)/4 (SRV PLATE) Chap.2 Pre Delay (Pre Delay Time) 0.0–100 ms Adjusts the time delay from when the direct sound begins until the reverb sound is heard. Time (Reverb Time) 0–127 Adjusts the time length of reverberation. Size 1–8 Adjusts the size of the simulated room or hall. The size becomes bigger as the value increases.
Chapter 2 Using the XV-5080 Effects Rhythm Set Mode Settings • For 1–8 fig.02-025.e_70 You can apply Multi-effects, Chorus or Reverb to each of a Rhythm Set’s Tones. You can control the amount of effect to be applied to each Rhythm Tone by adjusting its send level to the Multi-effects, Chorus and Reverb. fig.02-022.e The following shows the basic setting procedure. Rhythm Set 1. Select the Rhythm Tone you wish to set. B1 D7 RHYTHM TONE Multi-Effects 2. Press [F6 (Effects)].
Chapter 2 Using the XV-5080 Effects Routing Tones to Effects On the Effects General page, set the following parameters. Rhythm Tone Output Assign MFX: The Tone is sent into the Multi-effects. Its output destination is determined by the Multi-effects output settings. A–D: The Tone is sent to one of the four output-jack stereo pairs, OUTPUTS A–D. Specifies the OUTPUT jacks to which the signal, after it has passed through the Multi-effects, is to be routed.
Chapter 2 Using the XV-5080 Effects Making Chorus Settings The XV-5080’s Chorus effect unit can also be used as a stereo delay unit. These settings allow you to select chorus or delay, the characteristics of the selected effect type, and the Chorus output routing. On the Effects General page, set the following parameters. Chorus Type Pressing [F4 (Chorus)] in the General page calls up the Chorus page, in which you can make the following settings. • For Type: 1 (CHORUS) Rate (Chorus Rate) 0.05–10.
Chapter 2 Using the XV-5080 Effects Making Reverb Settings Center (Delay Center) 200–1000 ms, Note These settings allow you to select the desired type of Reverb, its characteristics, and the pair of OUTPUT jacks to which the Reverb unit’s stereo output is routed. Sets the delay time for the delay located at the center of the stereo field. Left (Delay Left) 200–1000 ms, Note Sets the delay time for the delay located at the left side of the stereo field.
Chapter 2 Using the XV-5080 Effects • For Type: 1 (REVERB) Type (Reverb/Delay Type) • For Type: 2 (SRV ROOM)/3 (SRV HALL)/4 (SRV PLATE) Selects a type of reverb or delay. Pre Delay (Pre Delay Time) 0.0–100 ms ROOM1: This is a short reverb with high density. ROOM2: This is a short reverb with low density. Adjusts the time delay from when the direct sound begins until the reverb sound is heard. STAGE1: This is a reverb with greater late reverberation.
Chapter 2 Using the XV-5080 Effects Parameters for Each MultiEffects Please refer to Making Effects Settings ([F5 (Effects)]) (p. 227). 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 controlled using a specified controller (Two setting items will change simultaneously for “#1” and “#2”). (p. 26, p. 32, p. 37) 1: STEREO EQ (p. 44) 2: OVERDRIVE (p.
Chapter 2 Using the XV-5080 Effects 37: CHORUS -> FLANGER(p. 63) 82: GUITAR MULTI B(p. 96) 38: CHORUS/DELAY(p. 64) 83: GUITAR MULTI C(p. 98) 39: FLANGER/DELAY(p. 64) 84: CLEAN GUITAR MULTI A(p. 99) 40: CHORUS/FLANGER(p. 64) 85: CLEAN GUITAR MULTI B(p. 101) 41: STEREO PHASER(p. 65) 86: BASS MULTI (p. 102) 42: KEYSYNC FLANGER(p. 65) 87: ISOLATOR 2 (p. 104) 43: FORMANT FILTER(p. 66) 88: STEREO SPECTRUM(p. 104) 44: RING MODULATOR(p. 67) 89: 3D AUTO SPIN(p.
Chapter 2 Using the XV-5080 Effects KEYBOARD MULTI 32: ENHANCER -> CHORUS 74: RHODES MULTI 33: ENHANCER -> FLANGER 75: JD MULTI 35: CHORUS -> DELAY LoFi (Effects that intentionally degrades the sound 36: FLANGER -> DELAY quality) 37: CHORUS -> FLANGER 50: LOFI COMPRESS 38: CHORUS/DELAY 51: LOFI NOISE 39: FLANGER/DELAY 76: STEREO LOFI COMPRESS 40: CHORUS/FLANGER 77: STEREO LOFI NOISE 60: 3D CHORUS Guitar and Bass (Effects useful for the Guitar and Bass) 61: 3D FLANGER 2:
Chapter 2 Using the XV-5080 Effects 1: STEREO EQ (Stereo Equalizer) Output This is a four-band stereo equalizer (low, mid x 2, high). Level (Output Level) # fig.2-04 L in 4-Band EQ L out R in 4-Band EQ R out Adjust the output level. 2: OVERDRIVE Freq/Gain LowFreq (Low Frequency) This effect creates a soft distortion similar to that produced by vacuum tube amplifiers. fig.2-05 L in Over drive Select the frequency of the low range (200 Hz/400 Hz).
Chapter 2 Using the XV-5080 Effects 4: PHASER This effect produces a more intense distortion than Overdrive. A phaser adds a phase-shifted sound to the original sound, producing a twisting modulation that creates spaciousness and depth. fig.2-06 L in L out Distortion Amp Simulator 2-Band EQ R in Pan L fig.2-07 L in L out Pan L Pan R Phaser R out Mix R in Resonance Pan R R out Distortion Drive # Adjust the degree of distortion.
Chapter 2 Using the XV-5080 Effects 5: SPECTRUM 6: ENHANCER Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies. It is similar to an equalizer, but has 8 frequency points fixed at locations most suitable for adding character to the sound. The Enhancer controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound. fig.2-09 L in fig.
Chapter 2 Using the XV-5080 Effects 7: AUTO WAH fig.2-11 L in fig.2-10 L out Rotary R in L in Chap.2 The Auto Wah cyclically controls a filter to create cyclic change in timbre. R out L out Rotary Auto Wah R in R out Auto Wah Filter (Filter Type) Speed # Simultaneously switch the rotational speed of the low frequency rotor and high frequency rotor. Select the type of filter. SLOW:Slow down the rotation to the specified speed (the Low Slow / Hi Slow values).
Chapter 2 Using the XV-5080 Effects Level (High Frequency Level) 10: LIMITER Adjust the volume of the high frequency rotor. The Limiter compresses signals that exceed a specified volume level, preventing distortion from occurring. Output fig.2-13 L in Level (Output Level) # L out Limiter Adjust the output level. 2-Band EQ R in 9: COMPRESSOR Pan L Pan R R out Limiter The Compressor flattens out high levels and boosts low levels, smoothing out unevenness in volume.
Chapter 2 Using the XV-5080 Effects 12: TREMOLO CHORUS Hexa-chorus uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound. Tremolo Chorus is a chorus effect with added Tremolo (cyclic modulation of volume). fig.2-14 fig.2-15 L in L out L in Balance D Chap.
Chapter 2 Using the XV-5080 Effects 13: SPACE-D 14: STEREO CHORUS Space-D is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus effect. This is a stereo chorus. A filter is provided so that you can adjust the timbre of the chorus sound. fig.2-17 Balance D fig.
Chapter 2 Using the XV-5080 Effects EQ Gain Level (Output Level) Low (LowGain) Adjust the output level. Adjust the gain of the low frequency range. High (High Gain) 15: STEREO FLANGER This is a stereo flanger. (The LFO has the same phase for left and right.) It produces a metallic resonance that rises and falls like a jet airplane taking off or landing. A filter is provided so that you can adjust the timbre of the flanged sound. fig.
Chapter 2 Using the XV-5080 Effects 16: STEP FLANGER High (High Gain) The Step Flanger effect 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 of a specified tempo. Adjust the gain of the high frequency range. fig.
Chapter 2 Using the XV-5080 Effects 18: MODULATION DELAY Feedback # This effect adds modulation to the delayed sound, producing an effect similar to a flanger. Adjust the proportion (%) of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase. When Feedback Mode is NORMAL: fig.2-22 FBK Mode (Feedback Mode) Balance D Select the way in which delay sound is fed back into the effect.
Chapter 2 Using the XV-5080 Effects Modulation 19: TRIPLE TAP DELAY Rate # The Triple Tap Delay produces three delay sounds; center, left and right. The center delay time can be specified as a note value of a specified tempo. Adjust the speed of the modulation. Depth Adjust the depth of the modulation. fig.2-24 Balance D Adjust the spatial spread of the sound. Triple Tap Delay Feedback EQ Gain Adjust the gain of the low frequency range.
Chapter 2 Using the XV-5080 Effects Feedback (Feedback Level) # Balance (Effect Balance) # Adjust the proportion (%) of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjust the volume balance between the direct sound and the delay sound. With a setting of D100:0W only the direct sound will be output, and with a setting of D0:100W only the delay sound will be output.
Chapter 2 Using the XV-5080 Effects 21: TIME CONTROL DELAY Output 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 will lower the pitch, and shortening it will raise the pitch. Level (Output Level) For details refer to “Changing the Multi-Effects Settings From an External MIDI Device (p. 217).” Adjust the stereo location of the delay sound.
Chapter 2 Using the XV-5080 Effects Pitch Coarse (Coarse Pitch B) #2 Coarse (Coarse Pitch) #1 Adjust the pitch of Pitch Shift B in semitone steps (-2-+1 octaves). Adjust the pitch of the pitch shifted sound in semitone steps (-2-+1 octaves). Fine (Fine Pitch B) #2 Fine (Fine Pitch) #1 Make fine adjustments to the pitch of Pitch Shift B in 2-cent steps (-100-+100 cents). Make fine adjustments to the pitch of the pitch shifted sound in 2-cent steps (-100-+100 cents).
Chapter 2 Using the XV-5080 Effects 24: REVERB Output The Reverb effect adds reverberation to the sound, simulating an acoustic space. Level (Output Level) Adjust the output level. fig.2-30 L in 2-Band EQ Balance D L out Balance W Gate Reverb is a special type of reverb in which the reverberant sound is cut off before its natural length. Reverb Balance W R in Balance D 2-Band EQ 25: GATED REVERB fig.
Chapter 2 Using the XV-5080 Effects 27: OVERDRIVE→FLANGER Level (Output Level) # This effect connects an overdrive and a flanger in series. Chap.2 Output fig.2-33 Adjust the output level. Balance D L out L in 26: OVERDRIVE→CHORUS Feedback Overdrive This effect connects an overdrive and a chorus in series. Balance W Flanger Balance W fig.
Chapter 2 Using the XV-5080 Effects 28: OVERDRIVE→DELAY 29: DISTORTION→CHORUS This effect connects an overdrive and a delay in series. This effect connects distortion and chorus in series. The parameters are essentially the same as “26: OVERDRIVE?CHORUS,” with the exception of the following two. fig.2-34 L out L in Balance D Balance W Overdrive Drive → Specify the amount of distortion. Delay Balance W Feedback R out R in Balance D Pan → Specify the stereo location of the distortion sound. fig.
Chapter 2 Using the XV-5080 Effects 33: ENHANCER→FLANGER This effect connects an enhancer and a chorus in series. This effect connects an enhancer and a flanger in series. fig.2-38 fig.2-39 L in Balance D L out Enhancer L in Balance D Mix L out Enhancer Mix Balance W Feedback Balance W Chorus Flanger Balance W Balance W R in R out Enhancer Mix Balance D R in R out Enhancer Mix Enhancer Sens (Enhancer Sens) # Adjust the sensitivity of the enhancer.
Chapter 2 Using the XV-5080 Effects 34: ENHANCER→DELAY 35: CHORUS→DELAY This effect connects an enhancer and a delay in series. This effect connects a chorus and a delay unit in series. fig.2-40 fig.2-41 L in Balance D L out Enhancer L in Balance D Mix Balance W Delay Balance W R out Enhancer Mix Balance D Enhancer Sens # Adjust the sensitivity of the enhancer.
Chapter 2 Using the XV-5080 Effects BYPASS. Level (Output Level) Balance # Adjust the output level. Adjust the volume balance between the flanger sound that is sent through the delay and the flanger sound that is not sent through the delay. With a setting of “D100: 0W,” only the flanger sound will be output. With a setting of “D0: 100W,” only the flanger sound that is sent through the delay will be output. 36: FLANGER→DELAY This effect connects a flanger and a delay in series. fig.
Chapter 2 Using the XV-5080 Effects Depth (Flanger Depth) 40: CHORUS/FLANGER Adjust the modulation depth of the flanger effect. This effect connects a chorus and a flanger in parallel. The parameters are the same as for “37: CHORUS→FLANGER.” However, the Flanger Balance parameter adjusts the volume balance between the direct sound and the flanger sound. Feedback (Flanger Feedback Level) Adjust the proportion (%) of the flanger sound that is fed back into the effect.
Chapter 2 Using the XV-5080 Effects 41:STEREO PHASER direct sound. Step Rate Chap.2 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. Switch fig.2-51 L in Phaser Mix Mix R in Phaser 2-Band EQ L out 2-Band EQ R out This setting determines whether the pitch is changed in a stepped fashion (ON) or not (OFF). Rate (Step Rate) # Adjust the frequency of pitch change.
Chapter 2 Using the XV-5080 Effects Depth (LFO Depth) EQ Gain Adjust the modulation depth of the flanger sound. Low (Low Gain) Fbk # Adjust the low frequency range gain (amount of boost or cut). Adjust the proportion (%) of the flanger sound that is to be returned to the input. Positive (+) settings will return the signal to the input with the original phase, while negative (-) settings produce an inverted phase. Higher settings will produce a more distinctive sound.
Chapter 2 Using the XV-5080 Effects setting is the vowel 2. Sets the frequency at which the two vowels will be switched. L in Ring Mod 2-Band EQ L out R in Ring Mod 2-Band EQ R out Chap.2 Rate fig.2-54 Depth Sets the effect depth. Ring Modulator Manual Freq (Frequency) # Sets the point at which the two vowels will be switched. When set to 50, Vowels 1 and 2 switched in the same amount of time.
Chapter 2 Using the XV-5080 Effects Output Level Level (Output Level) 1 (Level 1) Adjust the output level. Adjust the output level of delay 1. 2 (Level 2) 45:MULTI TAP DELAY The Multi Tap Delay has four delays. Each of the Delay Time parameters can be specified as a note length of the selected tempo. You can also set the panning and level of each delay sound. Adjust the output level of delay 2. 3 (Level 3) Adjust the output level of delay 3. 4 (Level 4) fig.
Chapter 2 Using the XV-5080 Effects Pan 1:2:3 (Output Pan 1:2:3) Level (Output Level) Adjust the pan of delay sound (Delay 1, 2, 3). A setting of L64 is far left, 0 is center, and 63R is far right. Adjust the output level. Threshold 46:REVERSE DELAY Reverse Delay is a delay effect that adds the reverse of the input sound as the delay sound. fig.2-56 L in Feedback 1 D1 D2 Rev. Delay Delay D4 2-Band EQ EQ Gain 2 3 Specify the volume level at which the reverse delay will begin to apply.
Chapter 2 Using the XV-5080 Effects 47:SHUFFLE DELAY EQ Gain Shuffle Delay adds a shuffle to the delay sound, giving the sound a bouncy delay effect with a swing feel. Low (Low Gain) fig.2-57 L out L in Feedback Positive (+) settings will emphasize (boost) the low frequency range. High (High Gain) Delay R in Adjust the low frequency gain (amount of boost or cut). R out Delay Adjust the high frequency gain (amount of boost or cut).
Chapter 2 Using the XV-5080 Effects Level (Output Level) Adjust the frequency above which delayed sound fed back to the delay input will be cut. Adjust the output level. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS. 49:3VOICE PITCH SHIFTER Feedback # Adjust the proportion (%) of the delay sound that is to be returned to the input.
Chapter 2 Using the XV-5080 Effects Pan 1:2:3 (Output Pan 1:2:3) EQ Gain Specify the stereo location of the pitch shift 1–3 sound. L64 is far left, 0 is center, and 63R is far right. Low (Low Gain) Output Positive (+) settings will emphasize (boost) the low frequency range. Level (Output Level) Adjust the low frequency gain (amount of boost or cut). High (High Gain) Adjust the output level. Adjust the high frequency gain (amount of boost or cut).
Chapter 2 Using the XV-5080 Effects HPF:The frequency region below the Cutoff Freq setting will be cut. Adjust the stereo position of the delay sound. A setting of L64 is far left, 0 is center, and 63R is far right. Adjust the frequency at which the filter will begin cutting. 52:SPEAKER SIMULATOR Radio Noise Speaker Simulator is an effect that simulates the speaker type and mic settings used to record the speaker sound. Detune # fig.2-62 Simulates the tuning noise of a radio.
Chapter 2 Using the XV-5080 Effects Output 54:DISTORTION 2 Level (Output Level) # This is a distortion effect that provides heavy distortion. fig.2-64 Adjust the output level. L in Distortion 53:OVERDRIVE 2 fig.2-63 L in L out Amp Simulator 2-Band EQ 2-Band EQ Pan L Pan R R in This is an overdrive that provides heavy distortion. Overdrive L out Amp Simulator R out Distortion Pan L Drive # Pan R Adjust the amount of distortion.
Chapter 2 Using the XV-5080 Effects 55:STEREO COMPRESSOR 56:STEREO LIMITER fig.2-65 fig.2-66 Compressor 2-Band EQ L out L in Limiter 2-Band EQ L out R in Compressor 2-Band EQ R out R in Limiter 2-Band EQ R out Compressor Limiter Attack Threshold (Threshold Level) Adjust the attack time of an input sound. Adjust the volume at which compression will begin.
Chapter 2 Using the XV-5080 Effects 57:GATE Balance The Gate effect cuts the reverb’s delay according to the volume of the sound input to the effects device. Use this in situations such as when you want to force a decrease in the decay sound. Balance (Effect Balance) # Sets the volume balance between the source sound and the effect sound. L in Gate L out With a setting of D100:0W only the direct sound will be output, and with a setting of D0:100W only the effect sound will be output.
Chapter 2 Using the XV-5080 Effects Anti Phase Low Sets the volume level at which the reset begins. Switch (Anti Phase Low Switch) Monitor (Reset Monitor) This turns the Anti-Phase function on and off and sets the level settings for the Low frequency ranges. When turned on, the counter-channel of stereo sound is inverted and added to the signal. Determines whether the sound used as the reset trigger is output (ON) or not (OFF). This parameter is disabled when Reset is set to OFF or Source.
Chapter 2 Using the XV-5080 Effects Chorus Rate (LFO Rate) # Adjust the modulation frequency of the chorus sound. Depth (LFO Depth) output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select SPEAKER when using speakers, or PHONES when using headphones. Level (Output Level) Adjust the output level. Adjust the modulation depth of the chorus sound. Phase 61:3D FLANGER Adjust the spaciousness of the chorus sound. This applies a 3D effect to the flanger sound.
Chapter 2 Using the XV-5080 Effects Tremolo Switch (Step Rate Switct) Mod Wave (Modulation Wave) Determines whether the pitch is changed in a stepped fashion (ON) or not (OFF). TRI: The sound will be modulated like a triangle wave. Step Rate (Step Rate) # SIN: The sound will be modulated like a sine wave. And adjust the rate at which the pitch will change. SAW1/2: The sound will be modulated like a sawtooth wave. The teeth in SAW1 and SAW2 point at opposite directions. Chap.
Chapter 2 Using the XV-5080 Effects The teeth in SAW1 and SAW2 point at opposite directions. fig.2-73a Saw1 Saw2 INVERSE: The left and right phase will be opposite. When using a mono source, this spreads the sound. SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source. Manual # Rate # Adjust the frequency (speed) of the change. Adjusts the center frequency to which the phase effect is applied.
Chapter 2 Using the XV-5080 Effects EQ Gain Level (Output Level) Low Adjusts the output level. Adjusts the gain of the low frequency range. 65: STEREO AUTO WAH Positive (+) settings will emphasize (boost) the lowfrequency range. This is a stereo auto wah. High fig.02-065m.e L in Auto Wah 2-Band EQ Chap.2 Output L out Adjusts the gain of the high frequency range. Positive (+) settings will emphasize (boost) the highfrequency range.
Chapter 2 Using the XV-5080 Effects amount of time. Setting this higher than 50 increases the time for Vowel 1; setting this lower than 50 decreases the time for Vowel 1. Phase # Sets the phase shift of the left and right sounds when the two vowels are switched. Feedback # Adjusts the proportion (%) of the delay sound that is fed back into the delay input. Positive (+) settings will return the signal to the input with the original phase, while negative (-) settings produce an inverted phase.
Chapter 2 Using the XV-5080 Effects EQ Gain This allows you to set even longer delay times (max. 1500 ms) for the Multi-Tap Delay function. Low (Low Gain) fig.02-068m.e L in Feedback 1 D1 D2 Rev. Delay Delay D4 R in 2-Band EQ L out Chap.2 68: REVERSE DELAY 2 Adjusts the gain of the low frequency range. Positive (+) settings will emphasize (boost) the lowfrequency range. High (High Gain) 2 D3 3 2-Band EQ R out Delay Adjusts the gain of the high frequency range.
Chapter 2 Using the XV-5080 Effects Feedback # fig.02-070m.e Adjusts the proportion (%) of the delay sound that is fed back into the delay input. Positive (+) settings will return the signal to the input with the original phase, while negative (-) settings produce an inverted phase. L 3D Delay L If you do not want to damp the high frequencies, set this parameter to BYPASS. Pan A, B (Pan A, B) Adjusts the pan of the delay A, B sound.
Chapter 2 Using the XV-5080 Effects Spread Adjusts the gain of the high frequency range. Value Positive (+) settings will emphasize (boost) the highfrequency range. Sets the rotary speaker stereo image. The higher the value set, the wider the sound is spread out. Balance Woofer Balance (Effect Balance) # Slow (Woofer Slow Rate) Sets the volume balance between the direct sound and the effect sound.
Chapter 2 Using the XV-5080 Effects EQ Gain Tone Low (Low Gain) Adjusts the sound quality of the Overdrive/Distortion effect. Adjusts the gain of the low frequency range. Level Positive (+) settings will emphasize (boost) the lowfrequency range. Adjusts the Overdrive/Distortion output level. Amp Simulator High (High Gain) Adjusts the gain of the high frequency range. Type (Amp Type) Positive (+) settings will emphasize (boost) the highfrequency range. Selects the type of guitar amp.
Chapter 2 Using the XV-5080 Effects 73: KEYBOARD MULTI Adjusts the speed of the low-range rotor for the fast-speed setting. Keyboard Multi provides Ring Modulator (RM), Equalizer (EQ), Pitch Shifter (PS), Phaser (PH) and Delay (Dly) effects connected in series. Accel (Low Frequency Acceleration) Adjusts the time over which the rotation speed of the lowrange rotor will change from slow-speed to fast-speed (or fast-speed to slow-speed) rotation. Lower values will require longer times.
Chapter 2 Using the XV-5080 Effects EQ Gain modulated. Low (EQ Low Gain) Rate (Phaser Rate) # Adjusts the low-range gain of the equalizer. Adjusts the frequency of modulation. Mid (EQ Mid Gain) Depth (Phaser Depth) Adjusts the gain of the area specified by the EQ M Fq parameter and the EQ M Q parameter. Specifies the depth of modulation. High (EQ High Gain) Adjusts the high-range gain of the equalizer.
Chapter 2 Using the XV-5080 Effects Mix Level (Phaser Mix) Rhodes Multi provides Enhancer (EH), Phaser (PH), Chorus or Flanger (CF), and Tremolo or Pan (TP) effects connected in series. Adjusts the proportion by which the phase-shifted sound is combined with the direct sound. fig.02-074m.e L in Specifies the frequency of modulation. Enhancer Mix Resonance Depth (Phaser Depth) Phaser Mix R in Rate (Phaser Rate) # Adjusts the depth of modulation.
Chapter 2 Using the XV-5080 Effects Tremolo/Pan Enhancer Sw (Enhancer Switch) Type Turns the Enhancer on/off. * After turning the VALUE dial to select the effect, you can hold down [SHIFT] and press [F1] or [F2] to rearrange the order in which effects are connected. Selects either Tremolo or Pan. ModWave (Modulation Wave) Selects the way in which tremolo or pan will be modulated. Tri: wave. The sound will be modulated like a triangle Sqr: wave.
Chapter 2 Using the XV-5080 Effects Pre Filter 250Hz (250Hz Gain) Type Specifies the gain (amount of boost or cut) at 250 Hz. Specifies the type of filter that will be applied before the sound passes through the Lo-Fi effect. 500Hz (500Hz Gain) Specifies the gain (amount of boost or cut) at 500 Hz. 1000Hz (1000Hz Gain) Chap.2 modified. Post Filter 1 Type Specifies the gain (amount of boost or cut) at 1000 Hz. 2000Hz (2000Hz Gain) Specifies the gain (amount of boost or cut) at 2000 Hz.
Chapter 2 Using the XV-5080 Effects 77: STEREO LO-FI NOISE Disc Noise LPF 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. Specifies the cutoff frequency of the low pass filter that is applied to the record noise. fig.02-077m.e 2-Band EQ L in L out Lo-Fi Radio Specifies the volume of the record noise. Radio Noise Noise Gen.
Chapter 2 Using the XV-5080 Effects Treble (Pre Amp Treble) Level (Output Level) Sets the treble sound quality. Adjusts the output level. Speaker 78: GUITAR AMP SIMULATOR Switch (Speaker Switch) This is an effect that simulates an amp. Determines whether the signal passes through the speaker (ON), or not (OFF). fig.02-078m.e L in L out Chap.2 Output Pan L Speaker Type Pan R Amp Simulator Selects the type of speaker. The specifications of each type are as follows.
Chapter 2 Using the XV-5080 Effects 79: STEREO OVERDRIVE 80: STEREO DISTORTION This is a stereo overdrive. This is a stereo distortion. fig.02-079m.e fig.02-080m.e L in Overdrive Amp Simulator 2-Band EQ L out L in Distortion Amp Simulator 2-Band EQ L out R in Overdrive Amp Simulator 2-Band EQ R out R in Distortion Amp Simulator 2-Band EQ R out Overdrive Distortion Drive # Drive # Adjusts the degree of distortion. The volume will change together with the degree of distortion.
Chapter 2 Using the XV-5080 Effects Sequence Guitar Multi 1 connects Compressor (Cmp), Overdrive or Distortion (ODDS), Amp Simulator (Amp), Delay (Dly), and Chorus or Flanger (CF) effects in series. Comp (Compressor Switch) Chap.2 81: GUITAR MULTI A Turns the Compressor on/off. OD/Dist (Overdrive/Distortion Switch) Turns the Overdrive/Distortion on/off. L in Compressor Overdrive/ Distortion Amp Simulator Amp Sim (Amp simulator Switch) Turns the Compressor on/off.
Chapter 2 Using the XV-5080 Effects Amp Simulator Balance # Amp Type (Amp Simulator Type) Adjusts the volume balance between the direct sound and the chorus/flanger sound. Selects the type of guitar amp. Small: small amp BltIn: built-in type amp 2-Stk: large double stack amp 3-Stk: large triple stack amp Filter Type Selects the type of filter. OFF: No filter is used. Delay Left Time (Delay Time Left) Adjust the delay time from the original sound until the left delay sound is heard.
Chapter 2 Using the XV-5080 Effects Mid (EQ Mid Gain) Turns the Amp Simulator on/off. Adjusts the gain of the area specified by the EQ M Fq parameter and the EQ M Q parameter. 3 Band EQ (3 Band EQ Switch) Turns the equalizer on/off. Cho/Flg (Chorus/Flanger Switch) High (EQ High Gain) Adjusts the high-range gain of the equalizer. Turns the chorus/flanger on/off. Mid Compressor Mid (EQ Mid Frequency) Attack (Compressor Attack) Specifies the duration of the attack when sound is input.
Chapter 2 Using the XV-5080 Effects Cutoff (Cutoff Frequency) Tone Sets the cutoff frequency when a specific frequency band is cut off by a filter. Adjusts the sound quality of the Overdrive/Distortion effect. Output Adjusts the Overdrive (or Distortion) output level. Level (Output Level) Wah Adjusts the output level. Level Filter Type (Wah FIlter Type) Pan (Output Pan) Selects the filter type. Adjusts the stereo location of the output sound.
Chapter 2 Using the XV-5080 Effects Output Adjusts the proportion (%) of the delay sound that is fed back into the delay input. Level (Output Level) HF Damp Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to damp the high frequencies, set this parameter to BYPASS. Balance (Delay Balance) # Adjusts the volume balance between the direct sound and the delay sound. Chap.2 Feedback (Delay Feedback Level) Adjusts the output level.
Chapter 2 Using the XV-5080 Effects EQ Gain Depth Low (EQ Low Gain) Sets the modulation depth for the chorus or flanger. Adjusts the low-range gain of the equalizer. Feedback (CF Feedback) EQ M Gain (EQ Mid Gain) Adjusts the proportion (%) of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the gain of the area specified by the EQ M Fq parameter and the EQ M Q parameter.
Chapter 2 Using the XV-5080 Effects 85: CLEAN GUITAR MULTI B fig.02-085m.e EQ Gain L in Wah Low (EQ Low Gain) 3-Band EQ R in Adjusts the low-range gain of the equalizer. L out Delay Chorus/ Flanger Pan R out Seqeuence Mid (EQ Mid Gain) Adjusts the gain of the area specified by the EQ M Fq parameter and the EQ M Q parameter. High (EQ High Gain) Adjusts the high-range gain of the equalizer. Wah (Auto Wah Switch) Turns the Auto Wah on/off. 3 Band EQ (3 Band EQ Switch) Turns the 3 Band EQ on/off.
Chapter 2 Using the XV-5080 Effects Chorus/Flanger 86: BASS MULTI Type Bass Multi provides Compressor (Comp), Overdrive or Distortion (OD/Dist), Equalizer (3 Band EQ), and Chorus or Flanger (Cho/Flg) effects connected in series. Selects either Chorus or Flanger. Rate fig.02-086m.e L in Sets the modulation speed for the chorus or flanger. Compressor Depth Overdrive/ Distortion Amp Simulator R in Sets the modulation depth for the chorus or flanger.
Chapter 2 Using the XV-5080 Effects chorus sound is heard. Level (Overdrive/Distortion Level) # Balance # Sets the volume of the Overdrive/Distortion sound. Adjusts the volume balance between the direct sound and the chorus/flanger sound. Amp Simulator Type (Amp Simulator Type) Filter Selects the type of bass amp. Type Small: small amp Selects the type of filter. BltIn: built-in type amp OFF: No filter is used.
Chapter 2 Using the XV-5080 Effects 87: ISOLATOR 2 Cutoff (Filter Cutoff Frequency) This adds a filter to the ISOLATOR effect. Isolator is an equalizer which cuts the volume greatly, allowing you to add a special effect to the sound by cutting the volume in varying ranges. Sets the filter’s cutoff frequency. The closer to zero it is set, the lower the cutoff frequency becomes; set it closer to 127, and the cutoff frequency becomes higher. fig.02-087m.
Chapter 2 Using the XV-5080 Effects Turn # Specifies the gain (amount of boost or cut) at 500 Hz. Stops or starts the rotation. When this is turned On, the sound will rotate. When turned Off, rotation will stop at the location specified by Azimuth. 1000Hz (1000Hz Gain) Specifies the gain (amount of boost or cut) at 1000 Hz. 1250 Hz (1250 Hz Gain) Output Specifies the gain (amount of boost or cut) at 1250 Hz.
Chapter 2 Using the XV-5080 Effects Copy Type 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.
Chapter 3 Selecting Output Jacks The XV-5080 has four sets of stereo outputs. These outputs allow you to separate sounds—or groups of sounds—from the XV-5080’s overall stereo mix, and to send them to their own external destinations. For example, you could route a stereo Rhythm Set to a pair of output jacks connected to an external effects device. You can also use the four pairs of jacks as eight independent output jacks, to which you can route Tones, Rhythm Tones or Patches.
Chapter 3 Selecting Output Jacks Parameters The parameters related to Patch output settings are shown below. Determines the level of the post-Multi-effects processor signal sent to Reverb. Its final output destination is determined by the Reverb output setting. Chorus Output Select PATCH Effects General page ([PATCH] [F6 (Effects)] - [F1 (General)]) Specifies how the signal routed through Chorus will be output.
Chapter 3 Selecting Output Jacks PATCH Common General #1 page ([PATCH] - [F1 (COMMON)] - [F1 (General)]) Common Chap.
Chapter 3 Selecting Output Jacks Example of Settings Assigning Different Output Destinations for the Tones in a Patch In this example, let’s suppose we have a Patch composed of four Tones, and we are outputting Tone 1 from the A OUTPUT jacks, Tone 2 from the B OUTPUT jacks, Tone 3 from the INDIVIDUAL 5 jack, and Tone 4 from the INDIVIDUAL 6 jack. The Chorus and Reverb are output from the B OUTPUT jacks. First, set the output destination for each Tone. 1. Select the Patch you wish to set. 3.
Chapter 3 Selecting Output Jacks Performance Mode Settings Signal (PART) Flow fig.03-002.e A OUTPUT A B PART Chap.3 Output Assign OUTPUT B C OUTPUT C D OUTPUT D M-FX Output Assign M-FX A CHO Chorus Output Assign REV Reverb Output Assign Parameters The parameters related to Part output settings are shown below.
Chapter 3 Selecting Output Jacks Part Chorus Send Level Range: 0–127 Sets how much of the Part is sent to the Chorus. Its final output destination is determined by the Chorus output setting. Part Reverb Send Level Range: 0–127 Sets how much of the Part is sent to the Reverb. Its final output destination is determined by the Reverb output setting. MFX Dry Send Level Range: 0–127 Determines the level of the signal that is to be sent to the output jacks, after passing through the Multi-effects.
Chapter 3 Selecting Output Jacks SYSTEM General #1 page ([SYSTEM] [F1 (General)]) Master Level (Master Level) Adjusts the volume of the entire XV-5080.
Chapter 3 Selecting Output Jacks Rhythm Set Mode Settings Signal (RHYTHM TONE) Flow fig.03-003.e Output Assign A OUTPUT A B RHYTHM TONE OUTPUT B C OUTPUT C D OUTPUT D M-FX Output Assign M-FX CHO Chorus Output Assign REV Reverb Output Assign Parameters The parameters related to Patch output settings are shown below.
Chapter 3 Selecting Output Jacks MFX Chorus Send Level Range: 0–127 * As the internal effects devices are in stereo, you cannot make the settings for the INDIVIDUAL OUTPUT jacks. RHYTHM Common page ([RHYTHM] [F1 (Common)]) MFX Reverb Send Level Common Range: 0–127 Level (Rhythm Level) Determines the level of the post-Multi-effects processor signal sent to Reverb. Its final output destination is determined by the Reverb output setting. Chorus Output Select Chap.
Chapter 3 Selecting Output Jacks SYSTEM Output page ([SYSTEM] - [F2 (OutP&EQ)]) Output Mix/Parallel 6. Turn the VALUE dial or press [INC]/[DEC] to select “3.” 7. Press [ ]/[ ]/[ ]/[ ] to move the cursor to Rhythm Tone Dry Send Level. Mode 8. Turn the VALUE dial to select “100.” Available Settings: 9. Press [ ]/[ ]/[ ]/[ ] to move the cursor to Rhythm Tone Chorus Send Level.
Chapter 3 Selecting Output Jacks Settings in General MIDI Mode Signal (PART) Flow fig.03-004.e A OUTPUT A B Part Chap.3 Output Assign OUTPUT B C OUTPUT C D OUTPUT D Out (GM CHORUS) CHO Rev (GM CHORUS) REV Out (GM REVERB) Parameters The parameters related to Part output settings are shown below. GM Effects General page ([GM] - [F6 (Effects)] - [F1 (General)]) Sets the output destination and level for the selected Part, as well as its send level with respect to the Chorus and Reverb.
Chapter 3 Selecting Output Jacks Reverb Send Level Range: 0–127 Sets the amount of the Chorus unit’s output to be sent to the Reverb. Its final output destination is determined by the Reverb output setting. Reverb Output Assign Range: A–D Selects the OUTPUT jacks to which the Reverb unit’s stereo output is routed. * As the internal effects processors are in stereo, settings for the INDIVIDUAL OUTPUT jacks are unavailable.
Chapter 3 Selecting Output Jacks Digital Connections Using RBUS * The XV-5080's R-BUS is for output only. Settings Values: 44.1/48 kHz This sets the master clock used for the output. DIF Control DIF-AT Clk Select (DIF-AT Clock Select) This selects the source of the DIF-AT synchronization signal when digital signals between digital devices are synchronized. * This setting is required only when synchronizing signals with an ADAT or DA-88 through the DIF-AT.
Chapter 3 Selecting Output Jacks Eight-Channel R-BUS Digital Connection fig.RBUS-1.e XV-5080 ——–> Device Equipped with R-BUS Connector (One Example) When Making the XV-5080 the Word Clock Master • XV-5080 Settings Master Clock: INTERNAL Master Freq: 44.1 or 48.
Chapter 3 Selecting Output Jacks Converting to the Various Digital Formats Digital Output to an ADAT Connect a DIF-AT, and you’ll then be able to output to an ADAT. Chap.3 When Making the XV-5080 the Word Clock Master fig.RBUS-2.e XV-5080 R-BUS DIF-AT W POWER IN OUT W OPTICAL OUT IN adat W Word Clock Settings • XV-5080 Settings Master Clock: INTERNAL Master Freq: 44.1 or 48.
Chapter 3 Selecting Output Jacks Digital Output to a TASCAM DA Series Connecting a DIF-AT then allows you to output to a TASCAM DA Series device. fig.RBUS-3.e XV-5080 R-BUS DIF-AT W POWER TDIF W W Word Clock TASCAM DA series When Making the XV-5080 the Word Clock Master Settings You cannot make these settings (the DIF-AT cannot be used as Word Clock Slave with TASCAM devices).
Chapter 3 Selecting Output Jacks Digital Output to an AES/EBU Device Connecting an AE-7000 then allows you to output to an AES/EBU device. When Making the XV-5080 the Word Clock Slave Settings fig.RBUS-4.e DIGITAL OUTPUT (AES/EBU) Chap.
Chapter 3 Selecting Output Jacks Synchronizing the XV-5080 to the Word Clock arriving at WORD CLOCK IN fig.RBUS-6.e Settings • XV-5080 Settings Master Clock: WORD CLOCK IN • Word Clock Master Device Settings Set the sampling rate for the device acting as Word Clock Master to 44.1 or 48.0 kHz. * Word Clock signals input at WORD CLOCK IN are output through R-BUS and S/P DIF.
Chapter 4 Creating Patches Types of Patches and Their Composition The basic unit of sound used in performances on the XV-5080 is called a Patch; there are two types of Patches, Four-Tone Patches and Multi-Partial Patches. The Patch type is determined by the Tone type setting, in the Patch Common screen (p. 127). You do not need to be particularly aware of such distinctions when playing Patches.
Chapter 4 Creating Patches Multi-partial Patch TVF (Time Variant Filter) Patches using data loaded into the XV-5080 from sampler Specifies how the constituent frequencies of the Tone will change. Multi-Partial Patch TVA (Time Variant Amplifier) B1 Partial Sample 1 D7 Specifies how the volume will change, and controls the localization. Envelope Sample 2 An envelope applies changes to the Tone over time. There are separate envelopes for Pitch, TVF (filter), and TVA (volume).
Chapter 4 Creating Patches Settings Common to the Entire Patch name by turning the VALUE dial or pressing the [INC] or [DEC] buttons to select the desired characters. Setting Procedure: space, A-Z, a-z, 0-9, ! " # $ % & ' ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _`{|}→← 1. Select the Patch you’re going to use. * Pressing the VALUE dial displays the Patch Name window, in which you can use the following functions. 2. Press [F1 (COMMON)]. 3.
Chapter 4 Creating Patches INDIV 1–8: The Patch is sent to the selected INDIVIDUAL 1– 8 jack. (Mono output) fig.04-006.e Pitch difference from equal temperament Parameter value TONE/KEY: The output routing is determined by the settings of each Tone/Partial. 3 2 Octave&Tune (Patch Octave & Tune) Octave Shift Range: -3– +3 Sets the pitch of the Patch in units of an octave (+/-3 octaves). * This setting can also be adjusted from the PATCH PLAY page. (p.
Chapter 4 Creating Patches Release Offset Control (Patch Control) Range: -63– +63 This simultaneously lowers or raises the individual TVA ENVELOPE T4 values of the Tones/Partials in the Patch. With Multi-Partial Patches, only TVA changes. PATCH Common Control page ([PATCH] - [F2 (Control)]) fig.04-008.e_70 Velo Sens Offset (Velocity Sensitivity Offset) Range: -63– +63 Chap.
Chapter 4 Creating Patches that uses multiple tones, it may stop being heard in MONO. When making large pitch changes, set the Legato Retrigger to “ON.” Bender Sets the bend range. TIME: The time it takes will be constant, regardless of how far apart in pitch the notes are. Start (Portamento Start) Portamento will begin anew if you press another key during a pitch movement. This setting specifies how the new portamento will start.
Chapter 4 Creating Patches Structure (Patch Structure) fig.04-016.e TYPE 5 These parameters can be set only for Four-Tone Patches. TONE 1 (3) PATCH Common Structure page ([PATCH] - [F3 (Struct)]) WG TVA TVF R TONE 2 (4) WG TVF TVA TVF TVA TVF TVA TVF TVA fig.04-011.e_70 fig.04-017.e TYPE 6 WG TONE 2 (4) WG TVA TVF R Tone 1&2/Tone 3&4 Determines how Tone 1 and 2, or Tone 3 and 4 are connected. fig.04-018.e Type (Structure Type) TYPE 7 Range: 1–10 TONE 1 (3) fig.04-012.
Chapter 4 Creating Patches other Tone to be connected in the simple order of WG/TVF/ TVA. Booster (Booster Gain) Range: 0/+6/+12/+18 If the “Type” parameter has been set to 3 or 4, you can set the Booster strength. The Booster amplifies the incoming signal, causing it to distort. This creates an effect similar to the distortion often used on an electric guitar. K. Range (Patch Key Range) These parameters can be set only for Four-Tone Patches.
Chapter 4 Creating Patches U.F (TMT Keyboard Fade Width Upper) Range: 0–127 Determines what will happen 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. Range: OFF/ON This setting determines whether or not the TMT is controlled by the Matrix Control.
Chapter 4 Creating Patches U.F (TMT Velocity Fade Width Upper) More Advanced Editing of Tones Range: 0–127 You can use a tremendous amount of detail when you edit the Tones in a Patch. This determines what will happen 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 outside the specified velocity range to be heard at all, set this to 0.
Chapter 4 Creating Patches fig.04-027.e 3. Press [ ] or [ to be set. ] to move the cursor to the parameter 4. Either by rotating the VALUE dial or by pressing [INC]/ [DEC], set the value. 5. Press [ ]/[ ]/[ ]/[ ] to move the cursor to the parameter you want to set. * If you make a mistake when setting a parameter’s value, or you don’t like the change you have made, just press [UNDO] to restore the original value of the parameter. 7. Repeat Steps 2–6 to finish setting up the Patch. 8.
Chapter 4 Creating Patches The following diagram shows an example of a sound – an electric organ – that combines one-shot and looped waveforms. fig.04-030.e TVA ENV for looped Organ waveform (sustain portion) TVA ENV for one-shot Keyclick waveform (attack portion) + Key-off page) before filtering. This will help you achieve the desired result. To make an entire waveform brighter, try applying effects such as an enhancer and equalizer before modifying the TVF parameter.
Chapter 4 Creating Patches Gain (Wave Gain) fig.04-033.e NORMAL Range: -6/0/+6/+12 Specifies the gain (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.
Chapter 4 Creating Patches Time (Tone Delay Time) Range: 0–127/Note Specifies the time after which the Tone will sound when using Tone Delay. When the Type parameter (STRUCT page) has a setting of 2– 10, the outputs of Tones 1 (3) and 2 (4) will be combined with Tone 2 (4). Tone 1 (or 3) settings will be ignored. For more information on the types of notes, refer to the Parameter List (p. 241).
Chapter 4 Creating Patches Depth (Pitch Envelope Depth) Range: -12– +12 Determines the amount of pitch enveloping to be used. Higher values will cause greater change. Negative (-) settings invert the direction of the changes made by the Pitch Envelope. Time Keyfollow (Pitch Envelope Time Keyfollow) Range: -100– +100 Time (Pitch Envelope Time 1–4) Range: 0–127 Range: -63– +63 Use this parameter when you want keyboard playing dynamics (velocity) to affect T4 (Time 4) of the pitch envelope.
Chapter 4 Creating Patches point, then go back and forth between the Loop Start point and the Loop End point. REV-ONE (Reverse One-shot) The sample will be played back only once from the Loop End point to the Start point in the reverse direction. REV (Reverse): When the sample has been played back from the Loop End point to the Start point, it will be repeatedly played back in the reverse direction, from the Loop Start point to the Start point.
Chapter 4 Creating Patches filter reduces the frequencies more gently than LPF2. Negative (-) values invert the change. This can be very effective with acoustic-instrument-based Tones, since nothing is done to weaken the power and energy of the sound. Cutoff Keyfollow (TVF Cutoff Keyfollow) Range: -200– +200 * This disables the Resonance setting.
Chapter 4 Creating Patches PATCH TVF Envelope page ([PATCH] [F3 (TVF)] - [F2 (TVF Env)]) Velo Sens (TVF Envelope Velocity Sensitivity) fig.04-044.e_70 Amount (TVF Envelope Velocity Sensitivity) Range: -63– +63 Use this parameter when you want keyboard playing dynamics (velocity) to affect the depth of the TVF envelope. For higher settings, there will be a greater difference between softly and strongly played notes. Negative (-) values invert the change.
Chapter 4 Creating Patches Changing the Volume and Stereo Location ([F4 (TVA)]) fig.04-047.e LOWER + Level Range: 0–127 Sets the volume of the Tone. This setting is useful primarily for adjusting the volume balance between Tones. The overall volume of the Patch is set by the Level (PATCH Common General page) setting, raising or lowering the Tone level settings of its individual Tones by the selected amount. (p.
Chapter 4 Creating Patches Keyfollow (Tone Pan Keyfollow) Depth Range: -100– +100 Time Keyfollow (TVA Envelope Time Keyfollow) Use this parameter when you want each note’s keyboard position to affect its stereo location. Higher values for this parameter will 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 notes above Middle C to be panned rightward.
Chapter 4 Creating Patches Applying Vibrato or Tremolo ([F5 (LFO&CTL)]) 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. 146). How to Use the LFO Depending on your settings, an LFO can also be used to cyclically exchange two Tones.
Chapter 4 Creating Patches Fade (LFO Fade) Depth (LFO Depth) Mode (LFO Fade Mode) Pitch (Pitch LFO Depth) Sets how the LFO will be applied. Range: -63– +63 Available Settings: Adjusts how much the LFO will affect the WG Pitch. ON-IN: The LFO will fade in after the key is pressed. TVF (TVF LFO Depth) fig.04-051.
Chapter 4 Creating Patches PITCH ENV: Pitch envelope Redamper (Tone Redamper Switch) TVF ENV: TVF envelope Range: OFF/ON TVA ENV: TVA envelope If 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 Redamper is set to ON. To take advantage of this feature, you must also turn on the Tone Receive Hold 1 setting.
Chapter 4 Creating Patches Creating Multi-Partial Patches When creating and playing Multi-Partial Patches, you must have a separate device to load samples from a sampler library or other source to the XV-5080. you wish to preserve them, save the modified Patch using the Write operation. (p. 194) Assigning Partials PATCH Common Split page ([PATCH] [F2 (WG)] - [F3 (Split)]) fig.04-059.e_70 First, load a Patch or Performance from the sound library (such as the optional L-CDX Series).
Chapter 4 Creating Patches Assign (Assign Type) Selects the range over which the Split settings are applied. MULTI: The settings affect all Partials. SINGLE: The settings affect a single selected Partial. Press [F6 (MIDISel)], causing "✔" to appear at the left of the function name. The Partials assigned to each key can be selected from the MIDI keyboard or other such controller. MIDI (MIDI Switch) Range: OFF/SELECT/SET Determines whether or not selections and settings are be made with a MIDI keyboard.
Chapter 4 Creating Patches Editing Samples PATCH WG SMT#1 page ([PATCH] - [F2 (WG)] - [F2 (SMT)]) C.T (Sample Coarse Tune) Range: -48– +48 Adjusts the pitch of the sample to be used in semitone steps over a range of +/-4 octaves. fig.04-061.e_70 F.T (Sample Fine Tune) Range: -50– +50 Determines the fine pitch setting of the sample to be used, in one-cent steps (1/100 of a semitone). SMT (Sample Mix Table) P.KF (Pitch Keyfollow) The SMT number is displayed. Range: -16– +16 No.
Chapter 4 Creating Patches PATCH WG SMT#2 page ([PATCH] - [F2 (WG)] - [F2 (SMT)]) PATCH WG Sample page ([PATCH] [F2 (WG)] - [F3 (Sample)]) fig.04-063.e_70 fig.04-065.e_70 SMT Velocity Control (SMT Velocity Control Switch) Sample Determines whether Velocity messages from a MIDI keyboard or sequencer will be recognized (ON), or ignored (OFF). L.F (SMT Velocity Fade Width Lower) Range: 0–125 Determines the extent over which the sound level is faded after SMT Velocity Range Upper. Sample Chap.
Chapter 4 Creating Patches steps (1/100 of a semitone). ONE SHOT: The sample will be played back only once, from the Start point to the Loop End point. Start Loop Start P. Loop End P. Start-Fine (Start Point - Start Point Fine) • Start Point Range: 0– Specifies the point in the sample from which data will be read. • Start Point Fine Range: 0–255 ALT (Alternate): This is a fine adjustment of the Start Point.
Chapter 4 Creating Patches keyboard to select the pertial. fig.04-067.e_70 LPF fig.04-066.e_70 Filter Type (TVF Filter Type) Selects the filter type. A filter typically reduces, or attenuates, a specific frequency range within a Tone in order to accentuate its other frequencies. Available Settings: OFF: No filter is used. LPF: Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency. Since the high frequency range is cut, the sound will become more mellow.
Chapter 4 Creating Patches PATCH TVF Envelope page ([PATCH] [F3 (TVF)] - [F2 (TVF Env)]) 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. fig.04-068.
Chapter 4 Creating Patches Making the Volume Change ([F4 (TVA)]) TVA Velo (TVA Velocity) Curve (Velocity Curve) Range: 0–3 Press [F5 (Global)] to turn Global on and display the "✔" to the left of the function name; the same settings are applied to all Partials used in the Patch being edited. When Global is set to OFF, then only the currently selected Partial (the Partial appearing on the screen) is edited. Selects the curve which corresponds to the velocity value and the volume level.
Chapter 4 Creating Patches Level (TVA Envelope Level 1–3) Range: 0–127 Applying Vibrato or Tremolo ([F5 (LFO&CTL)]) Each TVA envelope level value determines an amount of change to be applied to the original Tone level setting. Velocity Sens (TVA Envelope Velocity Sensitivity) Time1 (TVA Envelope Time 1 Velocity Sensitivity) Press [F5 (Global)] to turn Global on and display the "✔" to the left of the function name; the same settings are applied to all Partials used in the Patch being edited.
Chapter 4 Creating Patches Rate (LFO Rate) Pan (Pan LFO Depth) Range: 0–127 Range: -63– +63 Adjusts the basic modulation rate, or speed, of the LFO. Adjusts how much the LFO will affect the Tone’s TVA Pan. Detune (LFO Rate Detune) PATCH LFO&Ctrl Control #1/#2 page ([PATCH] - [F5 (LFO&Ctl)] - [F2 (Control)]) Range: 0–127 Changes the rate of the LFO. fig.04-074.e_70 Delay (LFO Delay) Chap.
Chapter 4 Creating Patches Destination Selects the parameters to be controlled. (p. 218) Patch Name Copy Sens (Sensitivity) You can copy the Patch name by setting the value to “NAME” in Step 6 above. Range: -63– +63 Adjusts the amount of change that will occur in response to controller changes. Negative (-) values invert the change. Negative (-) settings will invert the phase. For LFO rates, negative (-) values slow down the LFO, and positive (+) values will speed it up.
Chapter 5 Creating a Performance How a Performance Is Organized With Performances, you can combine a total of up to 32 separate Patches and Rhythm Sets to enjoy ensemble performances featuring rich tones. In other words, using Performances allows you to control 32 separate tones with a single XV-5080. A sound module that can simultaneously produce multiple sounds is called a multitimbral sound module. (p.
Chapter 5 Creating a Performance * This setting is linked to the setting for the Solo Part Select parameter (Performance Common page; p. 160). Solo Part Select * Even with Solo Part specified here, no sound will be produced if the MIDI Rx (Performance MIDI #1 page) for the selected part is switched to “OFF.” You can make the setting for listening to only a specific Part.
Chapter 5 Creating a Performance 5. Turn the VALUE dial or press [INC]/[DEC] to select the desired value. * If you make a mistake when setting a parameter’s value, or you don’t like the change you have made, just press [UNDO] to restore the original value of the parameter. 6. Repeat steps 2–5 to complete a Performance. 7. Press [EXIT] to return to the PERFORMANCE PLAY page. A “*” symbol will appear at the left of the Performance name, indicating that its settings have been modified.
Chapter 5 Creating a Performance K.L (Part Keyboard Range Lower) Range: C -1–G9 Specifies the lowest note that will cause the Part to play its sound. * It is not possible to select XP-A–H unless a wave expansion board is inserted into the corresponding slot. (Quick Start; p. 3) * It is not possible to select CARD unless a SmartMedia card is inserted into the XV-5080 CARD slot. K.U (Part Keyboard Range Upper) Number Range: C -1–G9 Selects the desired Patch or Rhythm Set by its number.
Chapter 5 Creating a Performance Bend Range (Part Pitch Bend Range) Range: 0–48/PATCH Sets the amount of pitch change that will occur when you move the Pitch Bend lever. The amount of change when the lever is tilted is set to the same value for both left and right sides. When set to PATCH, the bend range settings for the assigned Patch will be put in effect. Editing the Attack and Release of the Sound and Changing the Way the Sound is Played PERFORMANCE Part #2 page ([PERFORM] - [F3 (Part)]) fig.05-008.
Chapter 5 Creating a Performance Release Offset (Part Release Time Offset) Range: -64– +63 Sets the relative proportion of change in the TVF/TVA Envelope T4 value set for each tone comprising the Patch or Rhythm Set assigned to the part. * Patches also contain a Release Time Offset setting. The final TVF/TVA Envelope release time value is therefore the sum of the Tone’s TVF/TVA Envelope T4 setting, the Patch’s Release Time Offset, and the Part’s Release Time Offset.
Chapter 5 Creating a Performance MIDI IN1 (Part MIDI IN 1 Receive Switch) Range: OFF/ON Sets whether each Part will receive MIDI messages (ON) or not (OFF) from the MIDI IN 1 connector. MIDI IN2 (Part MIDI IN 2 Receive Switch) Range: OFF/ON Sets whether each Part will receive MIDI messages (ON) or not (OFF) from the MIDI IN 2 connector. Part Mute Switch (Part Mute Switch) Range: OFF/MUTE Chap.5 Turns muting of each part on (MUTE) or off (OFF).
Chapter 5 Creating a Performance Expression (Receive Expression Switch) Range: OFF/ON The Part Info screen is split into three menus. Press [F6 (Menu)] to switch the menus. Sets whether the MIDI channel will receive MIDI Expression messages (ON) or not (OFF). Menu 1 Hold-1 (Receive Hold 1 Switch) Range: OFF/ON Sets whether the MIDI channel will receive MIDI Hold 1 messages (ON) or not (OFF).
Chapter 5 Creating a Performance 5. Press [ ]/[ “Type.” ]/[ ]/[ ] to move the cursor to 6. Turn the VALUE dial to select “PART.” 7. Press [ ]/[ ]/[ ]/[ ] to move the cursor to the parameter you want to set. 8. Either by rotating the VALUE dial or by pressing [INC]/ [DEC], set the value. 9. Press [F6 (Copy)] to initiate the copy procedure.
Chapter 6 Creating Rhythm Sets How Percussion Instruments Are Organized Rhythm sets are groups of a number of different percussion instrument sounds. An instrument consists of the following four elements. fig.06-001.
Chapter 6 Creating Rhythm Sets Settings Common to an Entire Rhythm Set Setting Procedure: 1. Select the Rhythm Set you wish to use. 2. Press [F1 (Common)]. 3. Use [ ]/[ ]/[ ]/[ parameter you want to set. [F2 (←Prev)]: Move back one character. [F3 (Next→)]: Move forward one character. [F4 (Insert)]: Insert a blank space at the cursor position. [F5 (Delete)]: Delete the character at the cursor position. [F6 (OK)]: Confirm the selected name. Level (Rhythm Level) Range: 0–127 ] to move the cursor to the 4.
Chapter 6 Creating Rhythm Sets Setting up Individual Rhythm Tones The parameters that can be set for each Rhythm Tone of the Rhythm Set are assigned to [F2]–[F5] as follows. the cursor jump to the number indicating the part in the upper left of the screen. Here, you can switch parts by turning the VALUE dial, or by pressing [INC] or [DEC]. 4. Press [ ]/[ ]/[ ]/[ ] to move the cursor to the parameter you want to set. 5. Either turn the VALUE dial, or press [INC]/[DEC] to select the desired value.
Chapter 6 Creating Rhythm Sets vibrations and the hollow sounds of brass instruments. The following diagram shows an example of a sound — an electric organ — that combines one-shot and looped waveforms. fig.06-005.e TVA ENV for looped Organ waveform (sustain portion) TVA ENV for one-shot Keyclick waveform (attack portion) + Key-off Depth parameters (the FXM parameter in the RHYTHM WG WgPrm page) before filtering. This will help you achieve the desired result.
Chapter 6 Creating Rhythm Sets WAVE Pan Group (Wave Group) Range: L64–63R Selects the group for the waveform that is to be the basis of the Rhythm Tone. Available Settings: INT: Waveform stored in the XV-5080’s memory. Establishes the stereo location of the waveform. L64 is far left, 0 is center, and 63R is far right. The pan of the Rhythm Tone is set by the Tone Pan setting (Rhythm TVA Parameter page), and the Wave Pan setting is added to this setting. (p.
Chapter 6 Creating Rhythm Sets RHYTHM WG Pitch page ([RHYTHM] [F2 (WG)] - [F2 (Pitch)]) fig.06-010.e T1 T2 T3 T4 L1 fig.06-008.e_70 L0 L3 Pitch Time key is pressed Pitch (Rhythm Tone Pitch) L2 key is released L4 Depth (Pitch Envelope Depth) Coarse Tune (Rhythm Tone Coarse Tune) Range: -12– +12 Range: C-1–G9 Determines the amount of pitch enveloping to be used. Higher values will cause greater change. Negative (-) settings invert the direction of the changes made by the Pitch Envelope.
Chapter 6 Creating Rhythm Sets Time4 (Pitch Envelope Time 4 Velocity Sensitivity) Range: -63– +63 Use this parameter when you want keyboard playing dynamics (velocity) to affect T4 (Time 4) of the pitch envelope. With higher settings, the T4 value will change more significantly depending on whether you release the key slowly or quickly. With positive (+) settings, greater keyboard velocity will reduce the T4 setting. With negative (-) settings, greater keyboard velocity will increase the T4 setting.
Chapter 6 Creating Rhythm Sets Loop Mode (Loop Mode) Displays the loop mode of the loaded Sample. Available Settings: FWD (Forward): After the Sample played back from the Start point to the Loop End point, it will then be repeatedly played back in the forward direction, from the Loop Start point to the Loop End point. • Loop Start Point Fine Range: 0–255 This is a fine adjustment of the Loop Start Point.
Chapter 6 Creating Rhythm Sets 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.
Chapter 6 Creating Rhythm Sets RHYTHM TVF Envelope page ([RHYTHM] - [F3 (Key TVF)] - [F2 (TVF Env)]) the T1 setting. With negative (-) settings, greater keyboard velocity will increase the T1 setting. fig.06-016.
Chapter 6 Creating Rhythm Sets V-Curve (TVA Level Velocity Curve) TVA Envelope Range: FIXED/1–7 Time 1–4 (TVA Envelope Time 1–4) 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 Tone’s volume. The selected curve is displayed to the below of its parameter value. Range: 0–127 These settings determine the times over which the Tone level setting will change from one TVA envelope level to the next.
Chapter 6 Creating Rhythm Sets Other Settings ([F5 (Key Ctl)]) RHYTHM Key Control page ([RHYTHM] - [F5 (Key Ctl)]) fig.06-020.e_70 * If a one-shot type Wave is selected, it will not sustain even if this parameter is set to “SUSTAIN.” MIDI Rx Switch (MIDI Receive Switch) These parameters determine how each Rhythm Tone in a Rhythm Set will respond to received Expression/Hold 1/ Pan MIDI messages.
Chapter 6 Creating Rhythm Sets Copying Settings from Some Other Rhythm Tone The Rhythm Tone settings in a Rhythm Set you select can be copied to the current Rhythm tone. This can save you a great deal of time and effort when editing sounds. 1. Confirm that the copy-destination Rhythm Tone is currently selected. 2. Press [SYSTEM/UTILITY], getting its indicator to start blinking. * If the indicator is steadily lit, you are in SYSTEM mode. Press [SYSTEM/UTILITY] once again, so the indicator is blinking. 3.
Chapter 7 Loading a Variety of Data Loading Sampler Libraries (CD-ROM) Use a Philips screwdriver that is suitable for the size of the screw. If an unsuitable screwdriver is used, the head of the screw may be stripped. Now let’s try loading a sampler library (such as the optional L-CDX Series) into the XV-5080 and playing some sounds. To remove a screw, rotate the screwdriver counter-clockwise. To tighten the screws, rotate the screwdriver clockwise. fig.07-001.
Chapter 7 Loading a Variety of Data 1. Turn off the power on the XV-5080 and any connected devices, and disconnect any cables connected to the XV5080. This completes installation of the SIMM or SIMMs. 2. Detach the cover on the top of the XV-5080. Removing SIMMs fig.07-002.e Screws to be removed 7. Return the XV-5080’s top cover to its original position. Remove SIMMs in the reverse order of that used for installation.
Chapter 7 Loading a Variety of Data Installation de la carte d'extension Wave (French language for Canadian Safety Standard) Les cartes d'exten-sion Wave contiennent des donnees Wave, aussi bien que des morceaux musicaux et des ensembles rythmiques utilisant ces donnees, auxquelles on peut directement acceder dans la zone temporaire et les faire jouer. Pour installer une carte d'extension (vendue en option dans les séries SR-JV80 et SRX), détacher la plaque du dessus.
Chapter 7 Loading a Variety of Data 1. Éteindre le XV-5080 et tout l’équipement qui y est relié. Ensuite, déconnecter tous les câbles qui sont reliés au XV-5080. 6. Pour ajouter plus d’une carte mémoire, répéter les étapes 4 et 5. 2. Enlever la plaque protectrice du dessus du XV-5080. Ceci complète les procédures d’installation pour augmenter la mémoire. 7. Replacer la plaque du dessus du XV-5080.
Chapter 7 Loading a Variety of Data Connecting a CD-ROM Drive fig.07-007.e_70 fig.07-005.e XV-5080 CD-ROM drive SCSI Cable The SCSI ID and Volume Label of the connected SCSI device appear in the window. 1. Turn off the power of the XV-5080 and any connected external devices. 6. Turn the VALUE dial to select the SCSI ID that was set when the CD-ROM drive was connected. 2. Connect the XV-5080 and the CD-ROM drive with a SCSI cable (one equipped with a 25-pin D-sub type connector at the XV-5080 end).
Chapter 7 Loading a Variety of Data 10. Turn the VALUE dial or press [ ] or [ ] to select the file to be loaded and press [F5 (Mark)]; a “✔” is added. * Press [F4 (Mk All) if you want to set markers for all files. Press it again to remove all markers. The files can also be sorted. Press [F3 (Sort)] to open the window for selecting the sorting preferences. Turn the VALUE dial or press [ then press [F6 (OK)].
Chapter 7 Loading a Variety of Data Procedure for Deleting a Patch or Performance After selecting “No” in Step 12 of “Loading Sampler Libraries,” press [F4 (JumpDel)] to display the Delete screen. fig.07-01.e_65 1. Turn the VALUE dial or press [ ] or [ ] to select the Patch or Performance to be deleted, then press [F5 (Mark)]. To place a marker on all Patches and Performances, press [F4 (Mk All)]. Press this once more to remove all markers. 2.
Chapter 7 Loading a Variety of Data About the Display of Folder Categories in Sampler Libraries S-700 Series files have the category indicated. The following categories can be selected. • other: No Assign • BEL: Bell(Bell, Bell Pad) • BRS: Brass(Synth Brass) • BS : Bass(Acoustic Bass, Electric Bass) Sample Load All samples (wave data) stored on the memory card are loaded to the XV-5080’s SIMM.
Chapter 7 Loading a Variety of Data Auto Load This selects the folder () to which samples are automatically loaded when the XV-5080’s power is turned on. * If you select Auto Load, the display will show a message for ten seconds, informing you that “Samples for automatic loading were found. Execute automatic loading?” If you wish to load the samples, press [F6 (Yes)]. If you do not wish to load, press [EXIT].
Chapter 7 Loading a Variety of Data Playing Back Loaded Sampler Libraries fig.07-012.e_70 Patches and Performances loaded from CD-ROMs are recorded in the USER Group. After selecting a Patch or Performance in the USER Group, you can then play the sounds. The SCSI ID and Volume Label of the connected SCSI device appears in the window. 1. Press [USER], getting the indicator to light. 6. Turn the VALUE dial to select the SCSI ID for the drive you want to load. 2.
Chapter 7 Loading a Variety of Data All of the XV-5080 settings for the selected file, with values as they were when saved, are loaded. You can also sort files. When you press [F3 (Sort)] the window for selecting the type of sort is displayed. Turn the VALUE dial or press [ ] or [ ] to select the way you want the files to be sorted, then press [F6 (OK)]. Without: Files appear in the order saved. Name: Files are sorted according to the file names.
Chapter 7 Loading a Variety of Data fig.07-04.e_70 f 5. Turn the VALUE dial or press [ ] or [ ] to select the Sample to be transmitted, then press [F5 (Mark)]. Press [F4 (Mk All) if you want to set markers in all samples. Press this once more to remove all markers. * This displays the number and size of marked samples on the display. 6. Press [F6 (Trans)] to initiate the transmission. The following message appears on the display: “Transmitting....
Chapter 7 Loading a Variety of Data Automatically Creating MultiPartial Patches (Create Patch) This creates Partials from samples loaded to the SIMM, assigns the samples to the original key, and automatically creates a Multi-Partial Patch. * If any of the loaded samples have the same original key, the sample assigned latest is given priority (assignments are made in order of file name). * Patches are created in the Temporary Area. If any Patch is being edited, save it before continuing. 1.
Chapter 8 Saving Tones and Other Data You’ve Created Saving Edits to the XV5080’s Internal Memory (Write) If you turn the power off or select another Patch, Performance, or Rhythm Set after you have modified a Patch, Performance or Rhythm Set, the changes you have made will be lost. If you wish to preserve the data, store it into the XV5080’s USER memory. The following number of Patches, Performances, and Rhythm Sets can be saved in internal memory: 128 Patches, 64 Performances, and 4 Rhythm Sets 7.
Chapter 8 Saving Tones and Other Data You’ve Created When Changing the Settings for the Patch or Rhythm Set Assigned to a Part in a Performance After changing the settings for the Patch or Rhythm Set assigned to a Part in a Performance, if you then try to save the Performance without first saving the changes in the settings, the following display appears. fig.08-004.e_65 A “*” is indicated for Patches/Rhythm Sets that haven’t been saved. * If you do not need to save the Patch settings, press [F5 (OK)].
Chapter 8 Saving Tones and Other Data You’ve Created Formatting a Memory Card 5. Press [F6 (OK)]. This function initializes (formats) a memory card so that XV5080 data can be saved onto it. Before a new memory card or a memory card used on another device can be used on the XV-5080, it must be formatted on the XV-5080. 6. Press [F6 (SAVE)]. The Save File window will appear. fig.08-03.e_70 * Please be aware that formatting will erase all the data currently stored on the memory card.
Chapter 8 Saving Tones and Other Data You’ve Created If samples not loaded into the SIMM memory are found in the save destination memory card, those samples will be deleted from the memory card. The sample is automatically registered to an empty bank in CARD A-H. * To cancel the operation, press [EXIT]. The files can also be sorted. Press [F3 (Sort)] to open the window for selecting the sorting preferences. Turn the VALUE dial or press [ ] or [ ] to select the sort type, then press [F6 (OK)].
Chapter 8 Saving Tones and Other Data You’ve Created 4. Press [F1 (Drive)]. By pressing [F2 (View)], you can specify the category of files to be displayed. Turn the VALUE dial or press [ ] or [ ] to select the category to be loaded, then press [F5 (Mark)]. Press [F4 (Mk All) if you want to set markers for all files. Press this once more to remove all markers. The files can also be sorted. Press [F3 (Sort)] to open the window for selecting the sorting preferences.
Chapter 8 Saving Tones and Other Data You’ve Created 1. Press [DISK], lighting the indicator. 2. Press [F5 (Tool)]. 4. After the page indicated in Step 4 appears, insert the card containing the file you want to copy, then press [F6 (OK)]. 3. Press [F5 (Regstry)]. 5. Turn the VALUE dial to select the file you want to copy, then press [F6 (Select)]. The Card&Disk Card Registration page appears. The following screen appears. fig.08-05.e_70 fig.08-07.
Chapter 8 Saving Tones and Other Data You’ve Created Saving All Data to Zip Disk ([DISK] - [F2 (SAVE)]) By connecting a SCSI-compatible Zip drive (optional ZIPEXT-2S), you can take all of the Patch, Performance, Rhythm Set, System, and Favorites List settings that are stored in the internal memory, put them in one single file, name the file, then save it onto a Zip disk.
Chapter 8 Saving Tones and Other Data You’ve Created [F2 (←Prev)]: To move back one character. [F4 (Insert)]: To insert a space. [F5 (Delete)]: To delete the character at the cursor position. The Save what from SIMM? window will appear. WAV + PARAMETERS: All of the XV-5080’s settings are saved. In addition, samples loaded to the SIMM are saved in WAV format. AIFF + PARAMETERS: All of the XV-5080’s settings are saved. In addition, samples loaded to the SIMM are saved in AIFF format.
Chapter 8 Saving Tones and Other Data You’ve Created Initializing a Sound 5. Either rotate the VALUE dial, or press [INC]/[DEC] to choose “DEFAULT” or “PRESET.” This function resets all of the parameters in the current Patch, Performance, Rhythm Set or Rhythm Tone to their standard or factory default settings. 6. Press [F6 (Execute)] to execute initializing and return to the PLAY page.
Chapter 8 Saving Tones and Other Data You’ve Created Use [ ][ ] to move the cursor to Key, and either rotate the VALUE dial, or press [INC] [DEC] to select the key. You can also use TONE SELECT [1]–[4] to select the percussion instrument sound you wish to edit, according to the key that plays it. TONE SELECT [1]: Selects the key one octave below the currently selected key. TONE SELECT [2]: Selects the key a semitone below the currently selected key.
Chapter 8 Saving Tones and Other Data You’ve Created Source You can specify the data to be transmitted by selecting the appropriate combination shown below. For example, if you wish to transmit the USER group Patches 001–020, you would specify “PATCH USER: 001–020.” * If the indicator is steadily lit, you are in SYSTEM mode. Press [SYSTEM/UTILITY] once again, so the indicator is blinking. 2. Press [F6 (Menu)] to select Menu 2. 3. Press [F1 (Xfer)]. 4. Press [F1 (To MIDI)]. TYPE BLOCK ALL USER 5.
Chapter 8 Saving Tones and Other Data You’ve Created TYPE BLOCK ALL PR-A, B PERFORM PATCH 7. Press [F6 (Trans)] to execute the transmission. *1 USER *2 01–64 PR-A, B 01–32 CARD 01–64 USER *2 001–128 PR-A–G *3 001–128 CARD 001–128 XP-A–H RHYTHM *6 *5 *4 USER *2 1–4 PR-A–G *3 1–2 CARD 1–4 * To cancel the operation, press [EXIT].
Chapter 8 Saving Tones and Other Data You’ve Created 6. Press [EXIT] several times to return to the applicable PLAY page. * Even if the Internal Write Protect setting is “ON” (write prohibit), incoming System Exclusive messages can rewrite the User memory data if the Exclusive Protect setting is set to “OFF” (write permit). Resetting All Settings to Default Factory Settings (Factory) This function resets all the XV-5080’s settings to their factory default values.
Chapter 8 Saving Tones and Other Data You’ve Created Registering Favorite Patches 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 are in the XV5080 itself, on Wave Expansion Boards, or on memory cards. You can register up to 64 Patches in this list.
Chapter 9 Other Settings/Status Checks Settings Common to the Entire XV-5080 ([SYSTEM/ UTILITY] - [F1 (General)]) fig.09-001.e_70 Powerup Mode Sets the condition of the XV-5080 when its power is turned on. Available Settings: DEFAULT: The XV-5080 will be ready to play Patch “USER:001.” LAST: The XV-5080 will power up exactly as it was when it was turned off. Character Style Setting Procedure: 1. Press [SYSTEM/UTILITY], getting the indicator to light.
Chapter 9 Other Settings/Status Checks Setting the Tuning and Volume Settings Master The Master Tune and Master Key Shift settings are common to all Patches, Performances, Rhythm Sets, and the GM Mode. Making Scale Tune Settings ([SYSTEM/UTILITY] - [F1 (General)]) fig.09-002.e_70 Level (Master Level) Range: 0–127 Adjusts the volume of the entire XV-5080. Scale Tune Tune (Master Tune) The XV-5080 allows you to use temperaments other than equal temperament.
Chapter 9 Other Settings/Status Checks 5. Either turn the VALUE dial, or press [INC]/[DEC] to select the desired value. * If you’ve made a mistake, simply press [UNDO]. The value of the parameter will be restored to what it was when you first positioned the cursor there. 6. Press [EXIT] to return to the applicable PLAY page. The Setting In Performance/GM mode (Key Scale) 1. Press [PERFORM] or [GM] to make its indicator light. 2. Press [SYSTEM/UTILITY], and confirm that its indicator has lighted.
Chapter 9 Other Settings/Status Checks Making the Equalizer Settings ([SYSTEM/UTILITY] [F2 (Outp&EQ)] - [F2 (EQ)]) * If you’ve made a mistake, simply press [UNDO]. The value of the parameter will be restored to what it was when you first positioned the cursor there. 5. Press [EXIT] to return to the applicable PLAY page. 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. 24) fig.09-003.
Chapter 9 Other Settings/Status Checks Setting the MIDI Channel The XV-5080 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-5080.
Chapter 9 Other Settings/Status Checks MIDI IN connectors The XV-5080 has two MIDI IN connectors. By providing for the use of two MIDI IN connectors, the XV-5080 readily accommodates a broad variety of performance situations. The MIDI messages from both MIDI IN 1 and 2 are received as 16 GM2 parts. fig.09-MIDI IN-3.
Chapter 9 Other Settings/Status Checks the status to "GM OFF" in the Initialize screen ([UTILITY] [Init] - [MIDI In2]). fig.09-MIDI IN-5.e IN 1 IN 2 Connecting Two or More XV5080s to Increase Polyphony The Stack function allows you to combine two or more XV5080 units to increase the number of voices that can be played simultaneously. You can connect and use up to eight XV-5080s. Patch GM2 16part fig.09-005.
Chapter 9 Other Settings/Status Checks Selecting Common Controllers ([SYSTEM/ UTILITY] - [F4 (Control)]) Confirming the Current Status ([SYSTEM/UTILITY] [F6 (Info)]) 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.
Chapter 9 Other Settings/Status Checks SCSI ID XV-5080 Self The current SCSI ID number of the XV-5080 will be displayed.
Chapter 10 Examples of Applications Using the XV-5080 Controlling the XV-5080 in Real Time Using an External MIDI Device External MIDI controllers (modulation lever, foot switch, expression pedal, etc.) can be used to modify Multi-effects settings or Tone settings in real time. Changing the Multi-Effects Settings From an External MIDI Device The parameters that can be changed via MIDI are predetermined according to the selected Multi-effects. This applies to the Multi-effects parameters described on p.
Chapter 10 Examples of Applications Using the XV-5080 MFX Control Destination LFO2 Selects the Multi-effects parameter to be controlled using the MFX Control 1–4 source. The parameters that can be selected depend on which type of Multi-effects is set to MFX Type. PITCH-ENV: Pitch envelope Modifying Tone Settings You can use the Matrix Control parameter to control Tone settings in realtime. Selecting the MIDI Messages Used for Control and the Parameters to Be Changed 1.
Chapter 10 Examples of Applications Using the XV-5080 PAN Applications for Patches TVA ENV A-TIME TVA ENV D-TIME TVA ENV R-TIME Sens Range: -63– +63 Adjusts the amount of change that will occur in response to controller changes. Negative (-) values invert the change. Negative (-) settings will invert the phase. For LFO rates, negative (-) values slow down the LFO, and positive (+) values will speed it up. Tone Selects the Tone to which the two previous parameter settings are applied.
Chapter 10 Examples of Applications Using the XV-5080 64:STEREO PHASER2 Rate,Step Rate 65:STEREO AUTO WAH Rate 66:ST FORMANT FILTER Rate 67:MULTI TAP DELAY 2 Delay1-4 68:REVERSE DELAY 2 Delay1-4 69:SHUFFLE DELAY 2 Delay 70:3D DELAY 2 Delay Left/Right/Center 71:ROTARY 2 Woofer Speed Slow/ Fast,Tweeter Speed Slow/ Fast 72:ROTARY MULTI Making a Tone’s Delay Time Match the System Tempo * You can use the Tone Delay only with Four-Tone Patches. 1. Select a Patch on the PATCH PLAY page. 2.
Chapter 10 Examples of Applications Using the XV-5080 You can play these phrase loops in sync with the System Tempo. 1. On the PATCH PLAY page, select a Patch that uses a phrase loop. 2. Set the Patch Clock Source parameter (PATCH Common General #2 page) to “SYSTEM.” 3. Call up the PATCH WG Parameter page. 4. Press TONE SELECT [1]–[4] to choose the Tone that uses waveforms with BPM indication.
Chapter 10 Examples of Applications Using the XV-5080 in pitch with the Control Number 6 (Data Entry MSB) and Control Number 38 (Data Entry LSB) settings. There is no change in pitch when Data Entry MSB is set to “64” and Data Entry LSB to “0.” The pitch is raised as the respective values increase, and lowered as the respective values decrease. Specifying the Range of Pitch Bend (p.
Chapter 10 Examples of Applications Using the XV-5080 Applications for Matrix Control Control are disabled, and the two Tones play simultaneously, regardless of the velocity data received from the MIDI keyboard or sequencer. Controlling the TMT with the LFO and Changing the Tone’s Cycle Time Plays When TMT (Tone Mix Table) is selected as the Matrix Control destination, you can change the timing at which tones used in Patches are played with the Control Source controller.
Chapter 10 Examples of Applications Using the XV-5080 Using the XV-5080 as a General MIDI Sound Module The XV-5080 features a GM mode (GM2)—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.
Chapter 10 Examples of Applications Using the XV-5080 Turning Effects On/Off fig.10-004.e_70 5. If you wish to move to another page group, use [F2]–[F5] to choose a group. * You can also move to another display group by holding down [SHIFT] and using [ ] or [ ]. 6. Repeat steps 2–5 to complete a GM mode settings. 7. When you finish making settings, press [EXIT] to return to the GM PLAY page. 1. Press [EFFECTS ON/OFF]. 2. Use [ ] or [ turned on or off.
Chapter 10 Examples of Applications Using the XV-5080 Key Mode Mono/Poly (Part Mono/Poly) Range: MONO/POLY Specifies the stereo location of the sound of each Part. L63 is far left, 0 is center, and 63R is far right. * If you modify the settings for Part Volume or Part Pan, they will be reflected in the Part Information page. Specifies whether the Part will play polyphonically (POLY) or monophonically (MONO). The MONO setting is effective when playing a solo instrument Patch such as sax or flute.
Chapter 10 Examples of Applications Using the XV-5080 Making MIDI Settings for Each Part ([F4 (MIDI)]) fig.10-007.e_70 PART MIDI Receive Channel (MIDI Channel) Range: 1–16/OFF Specifies the MIDI channel for each Part. Part MIDI Receive Switch Receive Switch Sets whether each Part will respond to received MIDI messages (ON) or not (OFF) from external MIDI devices. Part Mute Switch (Part Mute Switch) Turns muting of each part on (MUTE) or off (OFF).
Chapter 10 Examples of Applications Using the XV-5080 GM Effects Reverb page ([F5 (Effects)] [F3 (Reverb)]) Checking MIDI Information for Each Part ([F6 (Info)]) GM mode reverb settings are made here. In this screen, you can check the reception status of the various types of MIDI messages, on an individual Part basis. This is a convenient way to check that the sound generator is responding correctly to messages from a keyboard or external MIDI controllers.
Chapter 10 Examples of Applications Using the XV-5080 Initializing GM Settings (Init) Once the external MIDI device is ready to record data, you can press [ENTER]. For details of the settings that are transmitted, refer to “MIDI Implementation” (p. 282). If you do not want the settings of a specific Part to be transmitted, turn off the Receive Switch for that Part (p. 227).
Chapter 10 Examples of Applications Using the XV-5080 6. Press [EXIT] several times to return to the applicable PLAY page. * Even if the Internal Write Protect setting is “ON” (write prohibit), incoming System Exclusive messages can rewrite the User memory data if the Exclusive Protect setting is set to “OFF” (write permit).
Appendices 231
Troubleshooting If no sound can be heard, or if the unit does not perform as you expect, check the following points first. If this does not resolve the problem, contact your dealer or a nearby Roland service station. * If a message appears during operation, consult the following section (p. 235). No sound Is the VOLUME lowered? • Check the VOLUME knob, and the volume settings on the connected amp/mixer etc.
Troubleshooting Effects do not apply Are [MFX], [CHORUS], and [REVERB] turned off? • Press the corresponding button to turn on the indicator. Are the various effect settings correct? • If the send levels to each effect are at 0, effects will not apply. Check each setting. • Even if the send level to each effect is above 0, effects will not apply if the MFX Output Level, Chorus Level, and Reverb Level are set to 0. Check each setting.
Troubleshooting the power in the proper sequence. If the device is still not being recognized, even with the setting at the maximum value, then that SCSI device cannot be used with the XV5080. Is any SCSI ID being used for more than one device? • If more than one device shares the same SCSI ID, then connected devices will not be correctly recognized. Follow the procedure described on p. 185 to set the SCSI IDs so that none is shared by any other device.
Error Messages If there has been a mistake in operation, or if the XV-5080 is unable to continue processing as you directed, an error message will appear in the display. Take the appropriate action for the displayed error message. This section gives the error messages in alphabetical order. Dest Disk Incorrect! All Data on the Drive Will Be Lost.It Will Take a Long Time.Are You Sure? Disk Full! Cause: The media is full. Condition: When you execute a Full Format, all data on the disk will be lost.
Error Messages File Name (Folder, Volume)Format Error Situation: Action: A file name has not been assigned. Assign a file name. IMPROPER DISK, This Disk is not for the XV-5080. Situation: Action: File not Found Situation: Action: The specified file was not found. Insert the memory card that contains the specified file, and try the operation once again. File Read Error! Cause 1: The data is damaged, and cannot be loaded. Action 1: Do not use this file.
Error Messages Memory Card Write Protected Situation: Action: Since a write protect sticker is affixed to the memory card, data cannot be saved to the card bank. Remove the write protect sticker from the memory card. PASSWORD PROTECTED, This Zip Disk is Protected by Password! Situation: Action: Memory Error! Cause: For some reason, wave memory cannot be read or written. Action: The SIMM may be damaged. If the same message appears even after reinstallation, use a different SIMM.
Error Messages Source Disk Incorrect! Cause: The operation you are attempting to execute does not support this media. Action: Do not select this media as the object of the operation. This Will Clear the File(s)/Folder(s).Are You Sure? Condition: The file(s) or folder(s) will be deleted from the disk. Is it OK to execute? Action: To cancel the operation, press [F1 (CANCEL)]. To execute the operation, press [F6 (DELETE)].
About SCSI Connecting a SCSI device In order to load wave data from a sound library (a CD-ROM containing sounds or phrases) into the XV-5080, or to save data on a removable disk or hard disk, you will need to connect a separately available SCSI device. SCSI devices are delicate. Incorrect connections or operation may not only cause the device to malfunction, but may even destroy the data on the disk, or permanently damage the SCSI device itself.
About SCSI sure to turn it on. For details on attaching an active terminator, refer to the owner’s manual of your SCSI device. * On some SCSI devices, the terminator switch is always on (i.e., the terminator is always active). Attach such devices at the end of the SCSI chain. * Do not “double” terminators. For example, do not attach an external terminator to a SCSI device that has an internal terminator. About SCSI ID Numbers SCSI devices are distinguished by a SCSI ID number (0–7).
Parameter List PATCH Common TMT Vel Range ([PATCH]-[F1(Common)]-[F5(V.Range)])(p. 133) Group Parameter TMT Velocity Control TMT Matrix Control TMT VEL RANG Switch Switch L.F V.L V.U U.F Value TMT Velocity control switch TMT Matrix control switch Velocity fade width lower Velocity range lower Velocity range upper Velocity fade width upper OFF, ON, RANDOM OFF, ON 0–127 1–UPPER LOWER–127 0–127 PATCH WG Parameter ([PATCH]-[F2(WG)]-[F1(WG Prm)])(p.
Parameter List PATCH TVF Parameter ([PATCH]-[F3(TVF)]-[F1(TVF Prm)])(p.
Parameter List PATCH LFO&Ctrl LFO1, LFO2 ([PATCH]-[F5(LFO&CTL)]-[F1(LFO1)])(p. 145) Group Parameter Wave Form LFO form Offset Value Detune Delay Time Keyfollow Fade Mode Time Key Sync Switch Depth Pitch TVF TVA Pan 1:It can also be set in terms of notes.
Parameter List PATCH Effects General ([PATCH]-[F6(Effects)]-[F1(General)])(p.
Parameter List ■ Multi Partial Patch Parameters PATCH Common Split ([PATCH]-[F1(Common)]-[F3(Split)])(p. 148) Group Parameter Note No. Partial Name L.P U.P Mute Assign MIDI ----------------- Value Note Number Partial Number Partial Name Lower Key Point Upper Key Point Mute Group Assign Type MIDI Switch A0–C8 ----A0–C8 A0–C8 OFF, 1–31 Mute, Single OFF, Select, Set PATCH WG Partial ([PATCH]-[F2(WG)]-[F1(WG Prm)])(p.
Parameter List PATCH TVF Envelope ([PATCH]-[F3(TVF)]-[F2(TVF Env)])(p.
Parameter List PATCH LFO&Ctrl Control #2 ([PATCH]-[F5(LFO&Ctl)]-[F2(Control)])(p.
Parameter List ■Performance Parameters PERFORMANCE Common ([PERFORMANCE]-[F1(Common)])(p. 160) Group Parameter Performance Name Solo Part Select Name Number Value Performance Name Solo Part Number ASCII Character (12 characters max) OFF, PART1-32 PERFORMANCE Key Range ([PERFORMANCE]-[F2(K.Range)])(p. 161) Group Parameter F.L K.L K.U F.U Value Key fade width lower Key range lower Key range upper Key fade width upper 0–127 C-1–UPPER LOWER–G9 0–127 PERFORMANCE Part #1 ([PERFORMANCE]-[F3(Part)])(p.
Parameter List PERFORMANCE MIDI #2 MIDI Filter ([PERFORMANCE]-[F4(MIDI)])(p. 165) Group Parameter MIDI Message Program Change Bank Select Pitch Bend Channel Pressure Poly Key Pressure Modulation Value Receive program change switch Receive bank select switch Receive bend switch Receive channel pressure switch Receive polyphonic key pressure switch Receive modulation switch OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON PERFORMANCE MIDI #3 MIDI Filter ([PERFORMANCE]-[F4(MIDI)])(p.
Parameter List PERFORMANCE Effects MFX Control #2 ([PERFORMANCE]-[F5(Effects)]-[F3(MFX Ctl)])(p.
Parameter List ■Rhythm Set Parameters RHYTHM Common ([RHYTHM]-[F1(Common)])(p. 169) Group Parameter Common Name Level Output Assign Clock Source Tempo Switch Tempo One Shot Mode Value Rhythm set name Rhythm level Rhythm output assign Rhythm clock source Rhythm tempo One Shot Mode ASCII Characters (max. 12) 0–127 MFX, OUTPUT A–D, INDIV 1–8, TONE RHYTHM, SYSETEM 20–250 OFF, ON RHYTHM WG Parameter ([RHYTHM]-[F2(Key WG)]-[F1(WG Prm)])(p.
Parameter List RHYTHM WG WMT Vel Range ([RHYTHM]-[F2(Key WG)]-[F4(V.Range)])(p. 174) Group Parameter Velocity Control Switch L.F V.L V.U U.F Value Velocity Control Switch Velocity fade width lower Velocity range lower Velocity range upper Velocity fade width upper OFF, ON, RANDOM 0–127 1–UPPER LOWER–127 0–127 RHYTHM WG Sample ([RHYTHM]-[F2(Key WG)]-[F5(Sample)])(p.
Parameter List RHYTHM Key Control ([RHYTHM]-[F5(Key Ctl)])(p. 179) Group Parameter CONTROL Bend Range Envelope Mode Mute Group Assign Type Expression Pan Hold-1 Rx MIDI Value Bend range Envelope mode Mute group Assign type Receive expression switch Receive pan control switch Receive hold-1 switch 0–48 NO SUS, SUSTAIN OFF, 1–31 MULTI, SINGLE OFF, ON CONTINUOUS, KEY-ON OFF, ON RHYTHM Effects General ([RHYTHM]-[F6(Effects)]-[F1(General)])(p.
Parameter List ■GM Mode Parameters GM Control ([GM]-[F2(Control)])(p. 225) Group Parameter Modify Cutoff offset Resonance offset Attack time offset Release time offset Mono/Poly Switch Time Key Mode Portamento Value Cutoff offset Resonance offset Attack time offset Release time offset MONO/POLY Portament Switch Portament Time -64–+63 -64–+63 -64–+63 -64–+63 MONO, POLY OFF, ON 0–127 GM Part ([GM]-[F3(Part)])(p.
Parameter List GM Effects General ([GM]-[F6(Info)])(p.
Parameter List ■MFX Prameters 4:PHASER(p. 45) Parameter 1:STEREO EQ(p. 44) Parameter Value Freq/Gain LowFreq LowGain Mid1 Freq Mid1 Gain Mid2 Freq Mid2 Gain High Freq High Gain Low frequency Low gain Middle 1 frequency Middle 1 gain Middle 2 frequency Middle 2 gain High frequency High gain 200, 400 Hz -15–+15 dB 200–8000Hz(*1) -15–+15 dB 200–8000 Hz(*1) -15–+15 dB 4000, 8000 Hz -15–+15 dB Mid1 Q Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0 0.5, 1.0, 2.0, 4.0, 8.
Parameter List 8:ROTARY(p. 47) Parameter Output Value Speed SLOW, FAST Low frequency slow rate Low frequency fast rate Low frequency acceleration Low frequency level 0.05-10.00 Hz 0.05-10.00 Hz 0-15 0-127 Woofer Slow Rate Fast Rate Acceleration Level Separation 0-127 High frequency slow rate High frequency fast rate High frequency acceleration High frequency level 0.05-10.00 Hz 0.05-10.00 Hz 0-15 0-127 Tweeter Output level 0-127 9:COMPRESSOR(p.
Parameter List 15:STEREO FLANGER(p. 51) Parameter Output Value 1: Flanger Rate Depth Feedback Phase Pre Delay Rate Depth Feedback level Phase Pre delay time 0.05-10.00 Hz 0-127 -98-+98% 0-180 degree 0.0-100.
Parameter List 20:QUADRUPLE TAP DELAY(p.
Parameter List 26:OVERDRIVE→CHORUS(p. 59) 32:ENHANSER→CHORUS(p. 61) Parameter Parameter Value Enhanser Overdrive Drive Pan Drive Pan 0-127 L64-0-63R Chorus pre delay time Chorus Rate Chorus depth Chorus balance 0.0-100.0 ms 0.05-10.00 Hz 0-127 D100:0W-D0:100W Output level 0-127 27:OVERDRIVE→FLANGER(p. 59) Parameter Value Drive Pan 0-127 L64-0-63R Flanger pre delay time Flanger rate Flanger depth Flanger feedback level Flanger balance 0.0-100.0 ms 0.05-10.
Parameter List 35:CHORUS→DELAY(p. 62) Parameter 40:CHORUS/FLANGER(p. 64) Value Chorus Pre Delay Rate Depth Balance Chorus pre delay time Chorus rate Chorus depth Chorus balance 0.0-100.0 ms 0.05-10.00 Hz 0-127 D100:0W-D0:100W Time Feedback HF Damp Delay time Delay Feedback level Delay HF damp Balance Delay balance 0.0-500.
Parameter List 43:FORMANT FILTER(p. 66) Parameter EQ Gain Value Overdrive Switch Drive Low High Low gain High gain -15 – +15 dB -15 – +15 dB Effect balance D100:0W – D0:100W Output level 0 – 127 Balance Switch Drive OFF, ON 0 – 127 Level Filter Level Vowel 1 Vowel 2 Rate Vowel 1 Vowel 2 Rate Depth Manual Depth Manual a, e, i, o, u a, e, i, o, u 0.05 – 10.
Parameter List 47:SHUFFLE DELAY(p. 70) Parameter 49:3VOICE PITCH SHIFTER(p. 71) Value Delay Time Shuffle Rate Acceleration Feedback HF Damp Value Pch Coarse Delay time Shuffle rate Acceleration Feedback HF Damp 0 – 1800 ms , note *2 0 – 100 % 0 – 15 -98 – +98 % 200–8000 Hz, BYPASS(*1) Pan A B Parameter 1-3 Coarse pitch 1-3 -24 – +12 Fine pitch 1-3 -100 – +100 [cent] Pitch shifter mode 1, 2, 3, 4, 5 Feedback level 1-3 -98 – +98 % Pre Delay time 1-3 0.
Parameter List 51:LOFI NOISE(p. 72) Parameter 53:OVERDRIVE 2(p. 74) Value Lo-Fi Type Value Overdrive LOFI type 1–9 Drive Tone Post Filter Type Cutoff Frequency OFF, LPF, HPF (*1) Amp simulator Radio detune Output level 0 – 127:0 – 127 (*2) 0 – 127 Post Filter Type Cutoff Parameter Amp Type Drive Tone Amp.
Parameter List 57:GATE(p. 76) Parameter 60:3D CHORUS(p. 77) Value Gate Mode Attack Time Hold Time Release Time Chorus GATE, DUCK 0 – 127 0 – 127 0 – 127 Rate LFO rate Depth Phase Pre Delay LFO depth Phase Pre delay time 0.05 – 10.00 Hz, note *1 0 – 127 0 – 180 degree 0.
Parameter List 62:TREMOLO(p. 79) Parameter EQ Gain Value Tremolo Low High Low gain High gain -15 – +15 dB -15 – +15 dB Output level 0-127 Output Mod Wave Modulation wave Rate Depth Rate Depth TRI, SQR, SIN, SAW1, SAW2 0.05 – 10.0 Hz, note *2 0 – 127 Level 66:ST FORMANT FILTER(p. 81) Parameter Value EQ Gain Low High Low gain High gain -15 – +15 dB -15 – +15 dB Overdrive Output level 0 – 127 Filter Value Vowel 1 Vowel 2 Rate Depth Manual Phase Output Level 63:AUTO PAN(p.
Parameter List 68:REVERSE DELAY 2(p. 82) 70:3D DELAY 2(p.
Parameter List 72:ROTARY MULTI(p. 86) Parameter 73:KEYBOARD MULTI(p. 87) Value Sequence OD/Dist Amp Sim 3 Band EQ Rotary OFF,ON OFF,ON OFF,ON OFF,ON Ring Mod 3 Band EQ Pch Shft Phaser Delay Type Drive Tone Level Overdrive, Distortion 0-127 0-127 0-127 Ring Modulator Amp Simulator Type Type SMALL, BUILT-IN, 2-STACK, 3-STACK EQ Low Gain EQ Mid Gain EQ High Gain -15 - +15 -15 - +15 -15 - +15 EQ Mid Freq EQ Mid Q (*1) 0.5, 1.0, 2.0, 4.0, 8.
Parameter List 74:RHODES MULTI(p. 89) Parameter 75:JD MULTI(p. 90) Value Sequence Enhancer Phaser Cho/Flg Tre/Pan OFF, ON OFF, ON OFF, ON OFF, ON Sens Mix Level 0 - 127 0 - 127 Type Drive Level Mode Manual Mix Level Rate Depth Resonance 4 stage, 8 stage 0 - 127 0 - 127 0.05 - 10.0, note *2 0 - 127 0 - 127 Phaser Chorus/Flanger Type Rate Depth Feedback PreDly Balance CHORUS,FLANGER 0.05 - 10.0, note *2 0 - 127 -98 - +98 0.
Parameter List 77:STEREO LOFI NOISE(p.
Parameter List 81:GUITAR MULTI A(p. 95) Parameter 82:GUITAR MULTI B(p.
Parameter List 83:GUITAR MULTI C(p. 98) Parameter 84:CLEAN GUITAR MULTI A(p. 99) Value Sequence OD/Dist Wah Amp Sim Delay Cho/Flg OFF,ON OFF,ON OFF,ON OFF,ON OFF,ON Type Type Drive Tone Level Drive Tone Level OVERDRIVE, DISTORTION 0 - 127 0 - 127 0 - 127 Filter type Rate Depth Sens Manual Peak LPF, BPF 0.05-10.
Parameter List 85:CLEAN GUITAR MULTI B(p. 101) Parameter Value Sequence Wah 3 Band EQ Delay Cho/Flg Wah Switch 3 Band EQ Switch Delay Switch Chorus/Flanger Switch OFF, ON OFF, ON OFF, ON OFF, ON Overdrive/Distortion Type Drive Tone Level Type Drive Tone Level OVERDRIVE, DISTORTION 0 - 127 0 - 127 0 - 127 Amp Simulator Type Type SMALL, BUILT-IN, 2-STACK EQ Gain Wah Filter type Rate Depth Sens Manual Peak Filter type Rate Depth Sens Manual Peak LPF, BPF 0.05-10.
Parameter List 88:STEREO SPECTRUM(p. 104) Parameter Band Gain 250Hz 500Hz 1000Hz 1250Hz 2000Hz 3150Hz 4000Hz 8000Hz note *1: Value 250Hz gain 500Hz gain 1000Hz gain 1250Hz gain 2000Hz gain 3150Hz gain 4000Hz gain 8000Hz gain -15-+15 dB -15-+15 dB -15-+15 dB -15-+15 dB -15-+15 dB -15-+15 dB -15-+15 dB -15-+15 dB Q 0.5, 1.0, 2.0, 4.0, 8.
Parameter List ■System Parameters SYSTEM General #1 ([SYSTEM/UTILITY]-[F1(General)])(p. 209) Group Parameter Setup LCD Contrast Patch Remain Powerup Mode Character Style Rhythm Edit Key SCSI Probe Time Level Tune Key Shift Clock Source Tempo Master System Tempo Value LCD contrast Patch remain switch Power up mode Character Style Rhythm edit key SCSI probe time Master level Master Tune Key Shift Clock source System tempo 1–10 OFF, ON LAST-SET, DEFAULT TYPE1–4 PANEL, PANEL&MIDI 1–10 0–127 415.3–466.
Waveform List Wave Name No. Wave Name No. Wave Name No. Wave Name No. Wave Name 1 StGrand pA L 51 E.Piano 1C 101 RockOrg1 A R 151 Jazz Gtr B 201 Syn Gtr B 2 StGrand pA R 52 E.Piano 2A 102 RockOrg1 B L 152 Jazz Gtr C 202 Syn Gtr C 3 StGrand pB L 53 E.Piano 2B 103 RockOrg1 B R 153 LP Rear A 203 Harp 1A 4 StGrand pB R 54 E.Piano 2C 104 RockOrg1 C L 154 LP Rear B 204 Harp 1B 5 StGrand pC L 55 E.
Waveform List No. Wave Name No. Wave Name No. Wave Name No. Wave Name No. Wave Name 251 UprightBs 2C 301 Oboe mf A 351 OrcUnisonA L 401 Violin 2 B 451 Voice Aahs B 252 Ac.Bass A 302 Oboe mf B 352 OrcUnisonA R 402 Violin 2 C 452 Voice Aahs C 253 Ac.Bass B 303 Oboe mf C 353 OrcUnisonB L 403 Cello A 453 Voice Oohs1A 254 Ac.
Waveform List Wave Name No. Wave Name No. Wave Name No. Wave Name No.
Waveform List No. Wave Name No. Wave Name No. Wave Name No. Wave Name No.
Waveform List Wave Name No.
MIDI Implementation Model Date Version XV-5080 May. 20, 2000 1.00 087 | | | | | | | 088 | | | 089 | | | 092 | | 093 | | 120 | 121 | 1. Receive data ■Channel Voice Messages * Not received in Performance mode when the Receive Switch parameter (PERFORM/ PART) is OFF. ●Note off Status 2nd byte 3rd byte 8nH kkH vvH 9nH kkH 00H n = MIDI channel number:0H - FH (Ch.
MIDI Implementation * In Performance mode the Part pan parameter (PERFORM/PART) will change. * In Performance mode the Part Release Time Offset parameter (PERFORM/PART) will change. ❍Expression (Controller number 11) Status 2nd byte 3rd byte BnH 0BH vvH n = MIDI channel number:0H - FH (Ch.1 - 16) vv = Expression: 00H - 7FH (0 - 127) * * Not received when Tone Receive Expression parameter (PATCH/TONE or RHYTHM/ TONE) is OFF.
MIDI Implementation ❍General Purpose Controller 8 (Controller number 83) Status 2nd byte 3rd byte BnH 53H vvH n = MIDI channel number:0H - FH (Ch.1 - 16) vv = Control value: 00H - 7FH (0 - 127) RPN and NRPN will be set as "unspecified". Once this setting has been made, subsequent Parameter values that were previously set will not change. mm, ll: ignored ●Program Change * The Tone Level parameter (PATCH/TONE) of Tone 4 will change.
MIDI Implementation ●OMNI OFF (Controller number 124) Status 2nd byte 3rd byte BnH 7CH 00H n = MIDI channel number:0H - FH (Ch.1 - 16) * The same processing will be carried out as when All Notes Off is received. ●MNI ON (Controller number 125) Status 2nd byte 3rd byte BnH 7DH 00H n = MIDI channel number: 0H - FH (Ch.1 - 16) * The same processing will be carried out as when All Notes Off is received. OMNI ON will not be turned on.
MIDI Implementation Byte F0H 7FH 7FH 04H 03H llH mmH F7H Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Device Control) Sub ID#2 (Master Fine Tuning) Master Fine Tuning LSB Master Fine Tuning MSB EOX (End Of Exclusive) 01H 01H 01H 02H ppH vvH mm, ll : 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents]) * The Master Tune parameter (SYSTEM/COMMON) will change.
MIDI Implementation ❍Scale/Octave Tuning Adjust Status F0H Data byte 7EH,7FH,08H,08H,ffH,ggH,hhH,ssH...
MIDI Implementation 7EH dev 7CH ppH F7H ID number (Universal Non-realtime Message) Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).) ID number (Wait) Packet number EOX (End Of Exclusive) This instrument can use exclusive messages to exchange many varieties of internal settings with other devices. he model ID of the exclusive messages used by this instrument is 00H 10H. ❍Data Request 1RQ1 (11H) This message requests the other device to transmit data.
MIDI Implementation ❍Panpot (Controller number 10) ❍RPN MSB/LSB (Controller number 100, 101) Status 2nd byte 3rd byte BnH 0AH vvH n = MIDI channel number:0H - FH (Ch.1 - 16) vv = Panpot: 00H - 40H - 7FH (Left - Center - Right), Initial value = 40H (Center) Status 2nd byte 3rd byte BnH 65H mmH BnH 64H llH n = MIDI channel number:0H - FH (Ch.
MIDI Implementation ●Sample Dump Standard * Transmitted only in Sample Dump mode. ❍Dump Header Status F0H Data byte 7EH, dev, 01H, ssH, ssH, eeH, ffH, ffH, ffH, ggH, ggH, ggH, hhH, hhH, hhH, iiH, iiH, iiH, jjH Byte Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).
MIDI Implementation | 00 00 00 | Temporary Patch *1-3-1| | 10 00 00 | Temporary Rhythm *1-3-2| +——————————————————————————————————————————————————————————————————————————————+ *1-2 Performance +——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 00 | Performance Common *1-2-1| | 00 02 00 | Performance Common MFX *1-2-2| | 00 04 00 | Performance Common C
MIDI Implementation |—————————————+———————————+————————————————————————————————————————————————————| | 00 10 | 0aaa aaaa | Voice Reserve 1 (0 - 64) | | | | 0 - 63, FULL | | 00 11 | 0aaa aaaa | Voice Reserve 2 (0 - 64) | | | | 0 - 63, FULL | | 00 12 | 0aaa aaaa | Voice Reserve 3 (0 - 64) | | | | 0 - 63, FULL | | 00 13 | 0aaa aaaa | Voice Reserve 4 (0 - 64) | | | | 0 - 63, FULL | | 00 14 | 0aaa aaaa | Voice Reserve 5 (0 - 64) | | | | 0 - 63, FULL | | 00 15 | 0aaa aaaa | Voice Reserve 6 (0 - 64) | | | | 0 - 6
MIDI Implementation |# 01 0D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 32 (12768 - 52768) | | | | -20000 - +20000 | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 01 11 | Total Size | +——————————————————————————————————————————————————————————————————————————————+ *1-2-3 Performance Common Chorus +——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |——————————
MIDI Implementation | | | -64 - +63 | | 00 14 | 0aaa aaaa | Part Release Time Offset (CC# 72) (0 - 127) | | | | -64 - +63 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 15 | 0aaa aaaa | Part Octave Shift (61 - 67) | | | | -3 - +3 | | 00 16 | 0aaa aaaa | Part Velocity Sens Offset (1 - 127) | | | | -63 - +63 | | 00 17 | 0aaa aaaa | Keyboard Range Lower (0 - 127) | | | | C-1 - UPPER | | 00 18 | 0aaa aaaa | Keyboard Range Upper (0 - 127) | | | | LOWER - G9 | | 00 19 | 0
MIDI Implementation | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4 | | 00 45 | 0aaa aaaa | Matrix Control 3 Sens 4 (1 - 127) | | | | -63 - +63 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 46 | 0aaa aaaa | Matrix Control 4 Source (0 - 109) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4, VELOCITY, | | | | KEYFOLLOW, TEMPO, LFO1, LFO2, | | | | PIT-ENV, TVF-ENV, TVA-ENV | | 00 47 | 00aa aaaa | Matrix Control 4 Destinat
MIDI Implementation | 00 03 | 0000 00aa | Chorus Output Select (0 - 2) | | | | MAIN, REV, MAIN+REV | |—————————————+———————————+————————————————————————————————————————————————————| |# 00 04 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 1 (12768 - 52768) | | | | -20000 - +20000 | |# 00 08 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 c
MIDI Implementation | | | -63 - +63 | | 00 4F | 0aaa aaaa | TVF Env Depth (1 - 127) | | | | -63 - +63 | | 00 50 | 0000 0aaa | TVF Env Velocity Curve (0 - 7) | | | | FIXED, 1 - 7 | | 00 51 | 0aaa aaaa | TVF Env Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 52 | 0aaa aaaa | TVF Env Time 1 Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 53 | 0aaa aaaa | TVF Env Time 4 Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 54 | 000a aaaa | TVF Env Time Keyfollow (54 - 74) | | | | -100 - +100 | | 00 55 | 0aaa aaa
MIDI Implementation | | | 32 - 127 [ASCII] | | 00 01 | 0aaa aaaa | Rhythm Name 2 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 02 | 0aaa aaaa | Rhythm Name 3 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 03 | 0aaa aaaa | Rhythm Name 4 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 04 | 0aaa aaaa | Rhythm Name 5 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 05 | 0aaa aaaa | Rhythm Name 6 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 06 | 0aaa aaaa | Rhythm Name 7 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 07 | 0aaa aaaa |
MIDI Implementation |# 00 14 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 5 (12768 - 52768) | | | | -20000 - +20000 | |# 00 18 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 7 (12768 - 52768) | | | | -20000 - +20000 | |# 00 20 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd |
MIDI Implementation | 00 3C | 0aaa aaaa | WMT1 Velocity Fade Width Lower (0 - 127) | | 00 3D | 0aaa aaaa | WMT1 Velocity Fade Width Upper (0 - 127) | |—————————————+———————————+————————————————————————————————————————————————————| | 00 3E | 0000 000a | WMT2 Wave Switch (0 - 1) | | | | OFF, ON | | 00 3F | 0000 00aa | WMT2 Wave Group Type (0 - 3) | | | | INT-WAVE, SRJV80-EXP, SRX-EXP, | | | | SAMPLE | |# 00 40 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT2 Wave Group ID (0 - 16384)
MIDI Implementation | 40 01 39 | 0aaa aaaa | Chorus Pre-LPF (0 - 7) | | 40 01 3A | 0aaa aaaa | Chorus Level (0 - 127) | | 40 01 3B | 0aaa aaaa | Chorus Feedback (0 - 127) | | 40 01 3C | 0aaa aaaa | Chorus Delay (0 - 127) | | 40 01 3D | 0aaa aaaa | Chorus Rate (0 - 127) | | 40 01 3E | 0aaa aaaa | Chorus Depth (0 - 127) | | 40 01 3F | 0aaa aaaa | Chorus Send Level to Reverb (0 - 127) | |—————————————+————————————————————————————————————————————————————————————————| 301 Appendices * Part Parameter +———————
MIDI Implementation * Drum Setup Parameter +——————————————————————————————————————————————————————————————————————————————+ | Start | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 41 m0 00 | 0aaa aaaa | Drum Map Name 1 (32 - 127) | | | | 32 - 127 [ASCII] | | 41 m0 01 | 0aaa aaaa | Drum Map Name 2 (32 - 127) | | | | 32 - 127 [ASCII] | | 41 m0 02 | 0aaa aaaa | Drum Map Name 3 (32 - 127) | | | | 32 - 127 [ASCII] | | 41 m0 03 | 0aaa aaaa | Drum M
MIDI Implementation during the song and then rewound or fast-forwarded, the sequencer may not be able to transmit the correct status, and the sound generator will then misinterpret the data. Take care to give each event its own status. (1) Exclusive Status, (4) Model ID (XV-5080), (2) ID (Roland), (5) Command ID(RQ1), (3) Device ID (17), (6) End of Exclusive Then calculate the checksum. It is also necessary that the RPN or NRPN parameter number setting and the value setting be done in the proper order.
MIDI Implementation ●ASCII code table As the data size of Rhythm Tone is 00 00 01 41H, summation of the size and the start address of Tone 4 of Part 16 at Temporay Patch in Performance mode will be; Patch Name and Performance Name, etc, of MIDI data are described the ASCII code in the table below.
SYNTHESIZER MODULE Date : May. 20, 2000 MIDI Implementation Chart Model XV-5080 Transmitted Function...
Specifications XV-5080 128 voice sound module ● Connectors GM Level 2 system Compatible A (MIX) Output (L(MONO), R) ● Parts B Output (L, R) C Output (L, R) 32 D Output (L, R) ● Maximum Polyphony (or Individual 1 - 8) 128 voices Digital Audio Out S/P DIF 44.
Index Numerics 2VOICE PITCH SHIFTER .............................................56 3D AUTO SPIN .............................................................105 3D CHORUS ...................................................................77 3D DELAY .......................................................................70 3D DELAY 2 ....................................................................84 3D Effects .......................................................................106 3D FLANGER ........
LIMITER ..........................................................................48 Loading ..................................................................181, 190 LOFI COMPRESS ...........................................................72 LOFI NOISE ....................................................................72 M Matrix Control ..............................................................223 Memory Cards ..............................................................197 MFX ...................
V V. Range .........................................................................133 V.L ..........................................................................133, 174 V.U ..........................................................................133, 174 W WAV ...............................................................................187 WAVE ............................................................................136 Wave ......................................................................
Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. AFRICA EGYPT Al Fanny Trading Office 9, EBN Hagar A1 Askalany Street, ARD E1 Golf, Heliopolis, Cairo 11341, EGYPT TEL: 20-2-417-1828 REUNION Maison FO - YAM Marcel 25 Rue Jules Hermann, Chaudron - BP79 97 491 Ste Clotilde Cedex, REUNION ISLAND TEL: (0262) 218-429 PANAMA ITALY ISRAEL SUPRO MUNDIAL, S.A. Roland Italy S. p. A.
02019812 ’02-10-F2-71N
