Roland Gaia 2 37 key Virtual Analog Wavetable Synthesizer Instruction Manual

Gaia 2 37 key Virtual Analog Wavetable Synthesizer

Product Information

Model: GAIA-2

System Program Version: 1.10 or later

Manufacturer: Roland

Download the Latest Program: https://roland.cm/gaia-2_dl

Specifications

• Output: L/MONO, R (mono or stereo)

• Input: DC IN jack

• Headphones: PHONES jack (front or
  standard)

• Power: AC adaptor

• Volume Control: VOLUME knob

• Power Switch: POWER switch

Product Usage Instructions

Updating the System Program

1. Visit the Roland website at https://roland.cm/gaia-2_dl
2. Download the latest program for the GAIA-2
3. Follow the instructions provided by Roland to update the system
   program

Mac Users – Acrobat Reader Shortcuts

• To toggle the Tone List: Press [Command] + [TONE LIST]

• To access Tone Edit: Press [VALUE (PUSH ENTER)] > TONE
  EDIT

• To hold chords and play the keyboard: Hold [CHORD] +
  [Keyboard]

• To assign LFO: Hold [ASSIGN] + [Knob/Slider]

• To access P-MOD: Hold [P-MOD]

• To access S-MOD: Hold [S-MOD]

• To record in the sequencer: Press [SEQUENCER REC]

• To record in the motion pad: Press [MOTIONAL PAD REC]

• To access MFX, Chorus, Reverb, or Delay: Press [MFX], [CHORUS],
  [REVERB], or [DELAY]

Navi Shortcuts

• To sync tempo: Hold [SHIFT] + [TEMPO SYNC]

• To toggle Key Trigger: Press [SHIFT] + [KEY TRIGGER SW]

• To write settings: Press [SHIFT] + [MENU] > WRITE

• To adjust OSC Envelope depth: Press [SHIFT] + [ENV-DEPTH] >
  OSC ENVELOPE

• To access Ring Mod: Press [SHIFT] + [SYNC] > RING MOD

• To assign motion on X-axis: Press [SHIFT] + [P-MOD] > MOTION
  ASSIGN X

• To assign motion on Y-axis: Press [SHIFT] + [S-MOD] > MOTION
  ASSIGN Y

• To adjust Drive: Press [SHIFT] + [DRIVE]

• To adjust Makeup Sensitivity: Press [SHIFT] + [MAKEUP
  SENS]

• To toggle recording on/off: Press [SHIFT] + [REC] >
  ON/OFF

• To clear settings: Press [SHIFT] + [CLEAR] > SETTING

• To toggle Chorus Mode: Press [SHIFT] + [TYPE] > CHORUS
  MODE

• To toggle Chorus on/off: Press [SHIFT] + [TYPE] >
  ON/OFF

• To adjust Send Level: Press [SHIFT] + [LEVEL] > SEND

• To toggle Mono Portamento: Press [SHIFT] + [MONO
  PORTAMENTO]

• To adjust Unison Detune and Spread: Press [SHIFT] + [UNISON
  DETUNE] + [UNISON SPREAD]

• To access Arpeggio Settings: Press [SHIFT] + [ON] > ARPEGGIO
  SETTING

• To toggle Scale Mode: Press [SHIFT] + [MODE] > SCALE (SEQ
  MODE)

• To adjust Octave Range, Duration, Tone Group, or Page: Press
  [SHIFT] + [1-8], [1-4], etc.

• To access Sequencer Settings: Press [SHIFT] + [START/STOP] >
  SEQUENCER SETTING

• To record random pattern: Press [SHIFT] + [REC] > RANDOM
  PATTERN

• To access Sequencer Utility: Press [SHIFT] + [EDIT] >
  SEQUENCER UTILITY

• To initialize settings: Press [SHIFT] + [INIT]

• To initialize the instrument: Press [SHIFT] + [INIT] >
  INITILIZE > MANUAL

Outputting Sound

1. Connect the included AC adaptor to the DC IN jack

2. Connect your mixer, amp, or speakers to the OUTPUT jacks

3. Connect a pair of headphones to the PHONES jack. If using
   headphones with a stereo mini plug, connect them to the front
   PHONES jack

4. Turn on the [POWER] switch of the instrument

5. Turn on any equipment connected to the instrument

6. Adjust the volume of the connected devices

7. Adjust the volume of the instrument using the [VOLUME] knob

Note: Use the cord guide on the bottom of the instrument to
secure the AC adaptor cord.

FAQ (Frequently Asked Questions)

Q: How do I update the system program for GAIA-2?

A: To update the system program, visit the Roland website and
download the latest program for GAIA-2. Follow the provided
instructions to complete the update.

Q: How do I output sound from GAIA-2?

A: Connect the included AC adaptor to the DC IN jack. Connect
your mixer, amp, or speakers to the OUTPUT jacks. If using
headphones, connect them to the PHONES jack. Turn on the power
switch of GAIA-2 and adjust the volume using the VOLUME knob.

Reference Manual

The content of this manual applies to version 1.10 of this instrument’s system program or later. Download the latest program from the Roland website to update the GAIA-2.

https://roland.cm/gaia-2_dl

¹ We recommend using Adobe Acrobat Reader when viewing this content from your computer. The links used to jump

between pages may not work correctly when you view the content in your browser.

¹ Use the keyboard shortcuts on your computer to go back to the previous screen.

Windows In Acrobat Reader, press [Alt] + [Ô].

Mac

In Acrobat Reader, press [Command] + [<].

In Preview, press [Command] + [ [ ] (left bracket).

© 2023 Roland Corporation

01

Click (tap) an icon to jump to the related page.

Panel map

Panel map (+SHIFT)

Tone Select Tone Write

Tone Init

Tone Edit

Edit map

Edit map

OSC Common

Mixer LFO

Edit map
Filter Amp

Edit map
Control Effects

Motional Pad Chord Memory Arpeggio

Sequencer

System

File

Master Effects
Connect ext device

Backup Restore
Export Import

Utility Parameter list

Format
Factory Reset

MFX list Wavetable list

Model Expansion
SH-101
2

LFO RATE / WAVE/ DEPTH

OSCILLATORS TABLE / POSITION

FILTER A / D / S / R sliders

Navi
AMP A / D / S / R sliders

MENU

PRESET / USER / MODEL > TONE LIST (Toggle)

VALUE (PUSH ENTER) > TONE EDIT

CHORD Hold+Keyboard

LFO ASSIGN
ASSIGN Hold + Knob/ Slider

P-MOD S-MOD
SEQUENCER REC

MOTIONAL PAD REC

MFX, CHORUS, REVERB / DELAY
3

Navi

[SHIFT] + TEMPO SYNC

KEY TRIGGER SW [SHIFT] + MENU > WRITE [SHIFT] + ENV-DEPTH > OSC ENVELOPE
[SHIFT] + SYNC > RING MOD [SHIFT] + P-MOD > MOTION ASSIGN X [SHIFT] + S-MOD > MOTION ASSIGN Y [SHIFT] + DRIVE
MAKEUP SENS [SHIFT] + [SHIFT] +

REC

ON/OFF

CLEAR > SETTING

[SHIFT] + TYPE

CHORUS MODE

• Ver.1.10 or later

[SHIFT] + TYPE

ON/OFF [SHIFT] + LEVEL
SEND [SHIFT] + [SHIFT] + MONO PORTAMENTO
LEGATO > UNISON DETUNE +UNISON SPREAD [SHIFT] + ON > ARPEGGIO SETTING [SHIFT] + [SHIFT] +

MODE

SCALE

(SEQ MODE)

[SHIFT] + [SHIFT] +

1-8

1-4

OCT RANGE > DURATION > TONE GROUP > PAGE

[SHIFT] + START/STOP > SEQUENCER SETTING [SHIFT] + REC > RANDOM PATTERN [SHIFT] + EDIT > SEQUENCER UTILITY

INIT

[SHIFT] + INIT

INITILIZE

MANUAL

4

Outputting sound

Navi

1. Connect the included AC adaptor to the DC IN jack.
2. Connect your mixer, amp or speakers to the OUTPUT jacks.
3. Connect a pair of headphones to the PHONES jack. If your headphones have a stereo mini plug, connect the headphones to the front PHONES jack.
4. Turn on the [POWER] switch of this instrument first, and then turn on any equipment that’s connected to this instrument.
5. Adjust the volume of the connected devices.
6. Adjust the volume of this instrument with the [VOLUME] knob.
7. Play the keyboard to make sound. Before turning the unit on/off, always be sure to turn the volume down. Even with the volume turned down, you might hear some sound when switching the unit on/off. However, this is normal and does not indicate a malfunction. The power to this unit will be turned off automatically after a predetermined amount of time has passed since it was last used for playing music, or its buttons or controls were operated. If you do not want the power to be turned off automatically, disengage the Auto Off function. Ø “Auto Off function” Unsaved data is lost when the power turns off. You must save any data in advance that you want to keep. * To restore power, turn the power on again.

To AC outlet Power cord AC adaptor
Cord guide Bottom of instrument

• Use the cord guide on the bottom of the instrument to secure the AC adaptor cord, as shown in the illustration.

OUTPUT jacks (L/MONO, R)

DC IN jack

These are jacks for outputting the audio signal. Use the L/MONO jack for mono output.
PHONES jack
Connect your headphones here. When using headphones with a stereo mini plug, connect
the headphones to the front jack.

Connect the included AC adaptor here. MASTER
[VOLUME] knob Adjusts the overall volume.

[POWER] switch

Turns the power on/off.
5

Icons used in this manual

Navi

The following icons are used in the illustrations of this manual to describe the operating steps.

Icon VALUE

Explanation Turn the [VALUE] (ENTER) knob.

Icon

Explanation

Operate the knob or slider.

ENTER

Press the [VALUE] (ENTER) knob.

• You may need to double-click in some cases.

Knob

Button name Press the button that’s shown.

Hold down the [SHIFT] button and press

the button shown.

PAD

Operate the motional pad.

Swipe

Tap

Place your finger on the pad and slide it in the desired direction.

Lightly touch the pad with your finger.

Double-tap
Tap the pad twice.

SHIFT + Button name

[SHIFT]

• You may need to hold down another button besides [SHIFT] in some cases.
• You may also need to hold down two buttons for a separate operation in some cases.

Play the keyboard. Keyboard

Jumping between pages
Navi
Touch (click) the Navi icon at the top right-hand corner of the pages to jump to the Navi map.

Screens with a border

Screens without a border

When you touch (click) on screens that are outlined with a border, this jumps to the related operation page or parameter list.

OSC Common

[SHIFT] + [SHIFT] + MONO PORTAMENTO

Looper

MFX List

When you touch (click) on other icons shaped like these, this jumps to the related operation page or parameter list.

6

Basic operation

Navi

MENU 1

TOP screen The topmost screen, where you can select tones.
Tone information

Wi-Fi signal strength (when WC-1 is connected)
1 ENTER

Motions made on motional pad

Output audio waveform

MENU screen
Execute various settings and functions from here (unrelated to tones).

44 EXIT

EXIT 3

2 ENTER

SOUND screen Selects the section for editing the tone.

EXIT 3

2 ENTER

System settings, utilities, other screens

Setting screens for various parameters

Display Shows various information for the operations.
[MENU] button Shows the MENU screen.
[SHIFT] button Use this button with other buttons to switch the function of the buttons and knobs. * The functions you can access with the [SHIFT] button are
shown below (or to the side of ) each button or knob (Some functions are not shown).

[VALUE] (ENTER) knob Turn: moves the cursor and sets the parameters. Press: confirms the parameters and executes operations. When you press this on the TOP screen, this shows the SOUND screen.
[EXIT] button Returns to the previous or initial screen. For some screens, this cancels the operation currently being executed.

7

Operating with the [VALUE] (ENTER) knob

Navi

On nearly all of the screens, you only need to operate (turn/press) the [VALUE] (ENTER) knobs to select parameters and edit values. This manual explains how to use the [VALUE] (ENTER) knob to operate this instrument.
¹ When a parameter is selected, double-click the [VALUE] knob, or press [VALUE] (ENTER) knob while holding down the [SHIFT] button to show the value list.
¹ Press the [EXIT] button to return to the previous screen or to cancel editing a value. ¹ Press the [EXIT] button a number of times to return to the TOP screen.

VALUE (turn) Moves the cursor

Return to SOUND screen
EXIT
Value List
EXIT
Cancel

ENTER (press)
ENTER
ENTER

VALUE Moves the cursor
Selects a parameter
Highlights the parameter display VALUE Changes the value
Confirms the value

Double-click ENTER Shows the VALUE LIST screen

VALUE Changes the value

ENTER

Confirms the value

8

Using the pad to operate this instrument
You can also use the motional pad to select parameters and edit their values. This manual explains how to use the [VALUE] (ENTER) knob to operate this instrument. ¹ You can disable (turn off ) the pad operations. Ø “Motional Pad UI Sw” ¹ When a parameter is selected, double-tap the motional pad to show the value list. ¹ Press the [EXIT] button to return to the previous screen or to cancel editing a value. ¹ Press the [EXIT] button a number of times to return to the TOP screen.

Navi

Pointer

Swipe (vertical and horizontal) Moves the pointer

Swipe (right)

Tap

Return to SOUND

screen

Swipe (vertical) Moves the cursor

EXIT
Value List
EXIT
Cancel

Tap

Selects a parameter

Highlights the parameter display

Swipe (vertical) Changes the value
Swipe (horizontal) Changes the value in larger units

Tap

Confirms the value

Double-tap Shows the VALUE LIST screen

Swipe (vertical) Changes the value
Swipe (horizontal) Changes the value in larger units

Tap

Confirms the value

9

Selecting a tone

Navi

On the GAIA-2, a single unit of sound is called a “tone”. There are four ways to classify tones: by attribute, by group, by bank number and by tone number.

Attribute (P: PRESET/U: USER/M: MODEL) Group (A­H) Bank number (1­8) Tone number (1­8)

1

VALUE Select a tone (A1-1­H8-8)

SHIFT+ ENTER

Reload the tone

[PRESET] [USER] [MODEL] buttons Selects a tone attribute (three types).

PRESET Selects a preset tone 1 USER Selects a user tone
MODEL Selects a model tone

Tones that can only be loaded, not overwritten Tones that can be loaded and overwritten Model expansion tones (SH-101 is preinstalled by factory default)

• Aside from the GAIA-2 original sound generator, the SH-101 Model Expansion comes preinstalled by factory default, which is modeled after Roland’s analog synthesizer. You can also install Model Expansions such as the JUPITER-8 and JUNO-106 from Roland Cloud (These are available for purchase). See the “GAIA-2 Roland Cloud User’s Guide” for details.

[1]­[16] buttons Selects the group, bank and tone numbers.

2

SHIFT+ 1­8

Selects the group (A­H)

3 1­8 Selects the bank number (1­8)

4 9­16 Selects the tone number (1­8)

10

Tone list
On the TONE LIST screen, you can select tones from a list of tone names. You can also filter and search for tones by category.
TOP

Navi

1 PRESET USER MODEL Jump to TONE LIST

EXIT

Press a button that’s lit screen

TONE LIST
2 VALUE Select a tone

CATEGORY
MENU 3

Category is highlighted

4 VALUE Select a category ENTER 5

ENTER 3

6 VALUE Select a tone ENTER 7

11

Saving a tone
Tone write
The tones you edit as well as the original tones are saved as user tones.

Navi
Tone init
Initializes the parameters for the tone.

TOP

[INIT] button

Tone name An asterisk is shown if the tone has been edited.

Initializes the tone.

1 SHIFT+ Jump to save MENU screen

1 INIT

Jump to INIT screen

INIT

SHIFT+ MENU
Cursor mode

2

VALUE

Select save destination

U A1-1­U H8-8

3

ENTER

Input tone name

ENTER 2

Character select mode

2 VALUE Select “OK”
3 ENTER Execute

1 VALUE Move the cursor

3 VALUE Change the character

SHIFT+ VALUE

: insert : delete

SHIFT+ VALUE
4 VALUE Select “OK”

: uppercase : lowercase

5 ENTER Confirm
6 VALUE Select WRITE 7 ENTER Execute
12

Editing a tone

Navi

From the SOUND screen, you can edit the tones by accessing the EDIT screen for each section.
¹ Although you can normally use the knobs, sliders and buttons to directly edit a tone, you can edit more parameters by accessing each section from the SOUND screen (While you are operating the controls, the dedicated parameter popup windows or graphical popup windows appear on the TOP screen for the relevant parameter).
¹ You can directly jump to the related EDIT page by operating the knobs and sliders while pressing the [MENU] button. ¹ When you operate a knob or slider while holding down the [EXIT] button, you can check the current value of the parameter in
question.

Basic operation
TOP
5 EXIT

MENU+ knob

Jump directly to the EDIT screen for each parameter

EXIT+ knob

Check current value

SHIFT+ INIT

Apply the positions of all controllers to the tone (manual)

1 ENTER

Jump to SOUND screen

FX ORDER

Scroll

VALUE Select section 2

ENTER

4 EXIT

3

ENTER

Jump to EDIT screen

VALUE Change the effect routing

EDIT screen operations shared in common (select parameter and change value) 2 ENTER 4

1 VALUE Selects a parameter

EXIT Cancel

3 VALUE Changes the value

4 Double-click Shows the VALUE LIST SHIFT+

ENTER screen

ENTER

VALUE LIST
6 ENTER Confirm EXIT Cancel

5 VALUE Changes the value
13

Edit map 1

Navi

OSC

This sets the waveform used as the base sound. OSC 1 outputs a wavetable waveform, and OSC 2/3 outputs a standard synthesizer waveform.
OSCILLATORS
[RANGE] knob Adjusts the range of the oscillator. [PITCH] knob Adjusts the pitch of the oscillator. + [SHIFT]: Adjusts the pitch in semitones. [TABLE] knob (OSC 1) Selects the wavetable. [WAVE] knob (OSC 2 / OSC 3) Selects the oscillator waveform. [POSITION] knob (OSC 1) Adjusts the position in the wavetable. [SHAPE] knob (OSC 2 / OSC 3) Adjusts the waveform shape.

COMMON
This configures the overall settings, such as how the tones are played.

VOICE
[MONO] button Switches between mono and poly mode. [PORTAMENTO] knob Adjusts the portamento time. Turn the knob all the way counterclockwise to turn the portamento off. [CHORD] button Turns the chord memory on/off. [HOLD] button Switches the hold on/off. While this is on, the notes you play keep sounding even after you take your fingers off the keyboard. TEMPO
[TEMPO] knob Adjusts the tempo.

OSC

Mixer

Filter

Control

Common

LFO

Amp

Effects

14

Edit map 2 MIX/OMOD/OENV
LFO

Navi
This sets the volume, modulation and changes over time (envelope) for each oscillator.
MIXER [OSC 1] [OSC 2] [OSC 3] knobs Adjusts the volume of each oscillator. OSC MOD [XMOD] knob Adjusts the depth of cross-modulation. [SYNC] button Turns the oscillator sync on/off (+ [SHIFT]: ring modulator). OSC ENVELOPE [ENV DEPTH] knob Adjusts the pitch envelope intensity. [A] [D] knobs Adjusts the pitch envelope.
This configures the cyclical change applied to the tone. Operate the control that applies the effect, while holding down the [ASSIGN] button to set the target.
LFO 1 / LFO 2 [RATE] knob Adjusts the LFO’s modulation speed. [TEMPO SYNC] button When this is turned on, the LFO cycle is synchronized with the tempo. [WAVE] knob Selects the LFO waveform. [DEPTH] knob Adjusts the depth of the LFO. [ASSIGN] button Sets where the LFO is applied to (assign 1­4).

OSC

Mixer

Filter

Control

Common

LFO

Amp

Effects

15

Edit map 3

Navi

FILTER AMP

Adjusts the frequency components of the tone. Use this section to create various sounds by making time-based changes with the envelope.

FILTER
[KEY FOLLOW] knob Adjusts the cutoff key follow. [ENV DEPTH] knob Adjusts the filter envelope intensity. [A] [D] [S] [R] sliders Adjusts the filter envelope. [DRIVE] knob Adjusts the degree of oscillator distortion. [TYPE] button Sets the type of filter. [CUTOFF] knob Adjusts the cutoff frequency. [RESONANCE] knob Adjusts the resonance. [SLOPE] button Sets the filter slope.

Adjusts the tone volume. Use this section to create various sounds by making time-based changes with the envelope.

AMP
[LEVEL] knob Adjusts the overall volume for all tones. [TONE] knob Adjusts the tonal character of the tone. [A] [D] [S] [R] sliders Adjusts the amp envelope.

OSC

Mixer

Filter

Control

Common

LFO

Amp

Effects

16

Edit map 4

Navi

CTRL

Sets how each controller works.

PITCH wheel
Changes the pitch. Move the wheel down (towards you) to lower the pitch, and move the wheel up (away from you) to raise the pitch. When you take your finger off the wheel, it returns to the center position.

[VELOCITY] button
When this is on, you can control the dynamics via key touch.
[TRANSPOSE] button
Hold down this button and use the OCTAVE [DOWN] [UP] buttons to raise or lower the pitch range in semitone steps. This setting is not stored in the tones.
OCTAVE [-] [+] buttons
Raises or lowers the pitch range in steps of an octave. This setting is not stored in the tones.
MOD wheel
Adds vibrato to the sound. When you move the wheel all the way down (towards you), no effect is applied. The further the wheel is moved up (away from you), the greater the effect. The wheel doesn’t return to its previous position even after releasing your finger.

EFFECTS

MFX REV CHO

This configures the effects that add various tonal color.
MFX
[ON/OFF] button Turns the MFX on/off. [TYPE] knob Sets the MFX type. [CTRL 1]­[CTRL 3] knobs These adjust the MFX parameters. The parameters to change depend on the effect type. CHORUS
[TYPE] button Sets the chorus type. REVERB/DELAY
[TYPE] knob Sets the reverb/delay type. [CTRL 1] [CTRL 2] [LEVEL] knobs Adjusts the reverb/delay parameters. The parameters to change depend on the effect type.

OSC

Mixer

Filter

Control

Common

LFO

Amp

Effects

17

LFO assign

Navi

You can assign up to four parameters respectively to LFO 1 and LFO 2.
¹ Operate a knob or slider while holding down the [ASSIGN] button to assign that parameter (You can also set this from the LFO EDIT screen).
¹ The P-MOD (Phase Modulation) and S-MOD (Shaping Modulation) parameters can be assigned using the motional pad. ¹ Refer to this list for the assignable parameters. Ø “Panel parameter assignment list”

Example: assigning parameters for the knobs and sliders

Example: assigning P-Mod and S-Mod parameters

• This explanation is based on P-Mod as an example. For S-Mod, access the S-MOD EDIT screen first and then make the settings.

1 ASSIGN Selects ASSIGN 1­4

1 ASSIGN Selects ASSIGN 1­4 2 P-MOD Jump to P-MOD EDIT screen

P-MOD EDIT

Current assign number lights up
Long-press 2 ASSIGN

3 Long-press ASSIGN

3 ASSIGN+ Assigns the parameter knob used

ASSIGN+ Assigns the parameter VALUE selected

ASSIGN+ EXIT

Clears the assignment

ASSIGN+ PAD (horizontal)

Assigns P-Mod X

4 ASSIGN+ PAD (vertical)

Assigns P-Mod Y

ASSIGN+ EXIT

Clears the assignment

Release 4 ASSIGN

Release 5 ASSIGN
18

Step LFO edit

Navi

By setting the waveform for LFO 1/LFO 2 to “STEP”, you can combine up to 16 steps of curves to create your own LFO waveform. You can use the settings screen to graphically view the time-based changes in the parameters for editing.

Basic operation
LFO 1

Shortcut
You can also access the following shortcuts from the STEP LFO EDIT screen.

1 VALUE Select STEP for the waveform
2 VALUE Select [ENTER] to edit ENTER
STEP LFO EDIT

3 1­16 Changes the current step

SHIFT+ 1­16

Edits the step length

PAD

X: edits the current step

Operation Y: edits the depth

1 WAVE Select STEP
LFO 1 VIEW

VIEW screen appears

2

Press ENTER while

ENTER the VIEW screen is

shown

Selects the current step number Adjusts the depth Selects the step curve
Depth
Step Length

• Refer to this list for the types of step curves. Ø “Step Curve 1-16”

19

MOTIONAL PAD

Navi

You can assign any parameter on the panel to the X and Y axes of the motional pad for real-time control.
¹ When you control a parameter from the motional pad, this is applied as an offset to the original value (The pad center values are (0, 0)). ¹ You can save the motions you play on the motional pad (motion rec), and play these motions back at different speeds (motion play). ¹ Motions and settings are stored for each tone. ¹ The motional pad position (where you touch the pad) is not stored in the tones. ¹ You can also select a motion from a template. ¹ The motional pad sensitivity can be changed. Ø “Motional Pad Sens”

MOTIONAL PAD
[P-MOD] button Shows the P-MOD EDIT screen. +SHIFT: Shows the MOTION ASSIGN-X screen. [S-MOD] button Shows the S-MOD EDIT screen. +SHIFT: Shows the MOTION ASSIGN-Y screen.

MOTIONAL PAD Controls the assigned parameter.

MOTIONAL PAD
[REC] button Shows the MOTION REC screen. [ON/OFF] button Plays/stops the recorded motion.

Motion rec
5 EXIT
STANDBY
MOTION REC

SHIFT+

Clear the recorded

MOTION REC motion

1 MOTION REC Motion rec standby

MOTIONAL PAD ON/OFF
Reset the position

• To reset the position, press the MOTIONAL PAD [ON/OFF] button while using a tone that doesn’t contain recorded data for the motional pad.

EDIT common operations (cursor/value edit)

VALUE ENTER
2 Operate the pad

Select [TEMPLATE] Jump to MOTION TEMPLATE screen
Starts motion rec

1 MOTION TEMPLATE

4 MOTION REC

3

Release the pad

Ends motion rec

VALUE Selects a template 2 SHIFT+ Sets the start point of
VALUE the shape
EXIT Cancel

3

ENTER

Turns the motion on and moves the screen

20

Motion play
Automatically plays the recorded motion. TOP
MOTION REC

Navi
1 MOTIONAL PAD ON/OFF Turns the motion on Motion begins playing back

Keyboard

• You can configure the playback start timing, playback speed, loop on/ off and so forth from the MOTION SETTING screen. Ø “MOTION SETTING”

Motion stops playing back

Motion assign

2 MOTIONAL PAD ON/OFF Turns the motion off

Assigns parameters to the X and Y axes of the motional pad.

¹ You can assign these parameters while the MOTION ASGN-X (or Y) screen is shown by operating a knob or slider (You can also set this from the MOTION SETTING screen).
¹ Refer to this list for the assignable parameters. Ø “Panel parameter assignment list”

MOTION ASGN-X
1 SHIFT+ P-MOD

2 Knob VALUE

Assigns the parameter selected to the X axis
Adjusts the depth

TOP

EXIT
1 SHIFT+ S-MOD
MOTION ASGN-Y

Operate Controls the assigned the pad parameter

Knob
VALUE 2

Assigns the parameter selected to the Y axis
Adjusts the depth

21

P-Mod/S-Mod edit

Navi

You can modulate the OSC 1 (Wavetable OSC) waveform using either P-Mod (Phase Modulation) or S-Mod (Shaping Modulation).
¹ When the indicators of either the P-Mod or S-Mod button are lit, the pad controls the direct value (not the offset value) of the parameter in question for OSC 1.
¹ Press the MOTIONAL PAD [REC] button while the indicator is lit to assign the parameter of either P-Mod or S-Mod to the motional pad. When the dialog box shown below appears, select “OK” and press the [VALUE] (ENTER) button to go to motion rec standby with the parameter assigned.

Lights up

Operate X: P-Mod X the pad Y: P-Mod Y

P-MOD

3

EXIT

Return to TOP screen while still in P-Mode edit

1 P-MOD
TOP

2 EDIT common operations (cursor/value edit)

1 S-MOD
S-MOD
Lights up

2 EDIT common operations (cursor/value edit)

EXIT 3

Return to TOP screen while still in S-Mode edit

Operate X: S-Mod Depth the pad Y: S-Mod Drive

22

Navi

Wavetable OSC The Wavetable OSC features a varied collection of single-cycle waveforms called a “table”. Different waveforms are arranged in continuous order inside the table, and you can specify the position from which to begin playback to play unique sounds whose waveforms change in various ways over time.

Phase Modulation Phase modulation is used to alter the output waveform by modulating the phase of the input waveform. By increasing the phase of even a simple input waveform, you can make dramatic changes to the waveform to get a distinctive tone.

Shaping Modulation With shaping modulation, you can modulate the input waveform signal using a waveform table called a “shaper”. The more complex the shaper is, the greater the change you can make, even to simple input waveforms. This lets you make tones that are rich in high-frequency components.

Wavetable (example)
Position 0-127

Relationship between phase modulation X/Y and the waveform

Y

Y

X

Phase

Modulation

X

Relationship between the shaping modulation table and the waveform
Shaping Modulation Table
Output Waveform

Waveform

Input Waveform

Motion settings
Here’s where you configure the motion-related settings.
TOP

3 EXIT

1

SHIFT+ MOTION ON/OFF

Jump to MOTION SETTING screen

2 EDIT common operations (cursor/value edit) Edits the setting
23

Arpeggio

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This feature lets you play arpeggios simply by pressing the keys.
¹ Both the notes you input on the keyboard and the notes outputted from the sequencer are inputted to the arpeggiator. This lets you create complex sequences that include arpeggio playing.

ARPEGGIO
[ON] button Turns the arpeggio on/off. [MODE] knob Sets the mode of the arpeggio.

[SCALE] knob Sets the scale of the arpeggio. [TEMPO] knob Adjusts the tempo.

Arpeggio play

2
Arpeggio settings
1 SHIFT+ ARPEGGIO ON
3 EXIT

1
ARPEGGIO ON MODE SCALE SHIFT+ MODE SHIFT+ SCALE

Arpeggio on/off Selects the mode Adjusts the scale Adjusts the octave range
Adjusts the duration

Keyboard HOLD

Plays the arpeggio
Holds the arpeggio playing back

TEMPO

Tempo of the arpeggiator/ sequencer

SHIFT+ ARPEGGIO ON

Jump to ARPEGGIO SETTING screen

2
EDIT common operations (cursor/value edit) Edits the setting

24

Chord memory

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You can use the chord memory feature to play entire chords that you’ve registered beforehand, simply by playing a note on the keyboard.
¹ The chord is transposed according to the keys you play. ¹ You can record the chords you play using chord memory into the sequencer. ¹ The chord memory settings are stored for each tone.

[CHORD] button Turns the chord memory on/off. The button lights up when on. Long-press the button to register a chord.

Chord memory play
TOP

13
CHORD Turn the chord memory on/off

• The button lights up when on.

2 Keyboard Plays chords
Chord memory input
TOP

3

Release CHORD

Finishes registering chord and turns chord memory on

1 Long-press CHORD

2

Keyboard

Play a chord on the keyboard to register

• Play a chord while pressing [CHORD]. The registered note number is shown onscreen. You can register up to eight notes.

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Sequencer
This is a pattern sequencer that lets you record up to 64 steps. Two types of recording are available, real time and step. ¹ Patterns are stored for each tone.

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SEQUENCER
[START/STOP] [REC] [TIE] [REST] [EDIT] buttons These buttons configure the sequencer settings. [1]­[16] buttons These buttons indicate the steps. When the TONE LIST screen is shown during pattern playback, the [1]­[16] buttons revert to tone switching buttons, letting you change tones in real time while the pattern plays.

Basic operation

Sequencer settings

Here’s where you configure the

sequencer-related settings.

TOP

This setting is stored for each pattern.

START/STOP Play/stop pattern

REC

Jump to REC STANDBY screen

EDIT

Jump to EDIT screen

SHIFT+ REC

Jump to RANDOM PATTERN screen

SHIFT+ EDIT

Jump to SEQUENCER UTILITY screen

SHIFT+

Jump to SEQUENCER

START/STOP SETTING screen

EDIT+ REC

Undo/redo

• Reverts to the previous recording operation (undo). Press the button again to go back to the original state (redo).

SHIFT+

Jump to SEQUENCER

START/STOP SETTING screen

3 EXIT

SHIFT+ START/STOP

1

2 EDIT common operations (cursor/value edit) Edits the setting
26

Pattern play
Plays the pattern. ¹ You can mute steps during playback, as well as change the step playback range to vary the pattern.

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TOP

EDIT+TIE Long-press

Operate the pad

Change first/last step

• You can change the step playback

range (first/last step) by operating the

motional pad while holding down the

[EDIT] and [TIE] buttons during pattern

playback. Release the buttons to turn

the setting off.

START/STOP Play/stop pattern

• The [1]­[16] buttons blink according to the playback position.

Keyboard Transpose the pattern

• Set Play/Trans to “ON” in the SEQUENCER SETTING screen.

TEMPO

Sequencer/arpeggio tempo

SHIFT+1 SHIFT+2 SHIFT+3 SHIFT+4

Move to page (STEP 1­16) Move to page (STEP 17­32) Move to page (STEP 33­48) Move to page (STEP 49­64)

Mute a step

1­16

Random pattern
Specifies a parameter to generate a random pattern. ¹ You can also execute this while a pattern is
playing back. ¹ You can’t generate chords using the random
pattern function.
5 EXIT

• Press the [1]­[16] buttons that are lit to mute them (the buttons go dark). Press the buttons again to unmute the steps.

• You can also mute steps while a pattern is playing back.

• The buttons revert to tone switching buttons when the TONE LIST screen is shown.

SHIFT+REC

Jump to RANDOM PATTERN screen

SHIFT+ 1 REC

2 EDIT common operations (cursor/value edit)
Edits the setting

3 VALUE

Select GENERATE ENTER 4

Random pattern is generated

SHIFT+ REC

• You can also generate again by pressing [SHIFT] + [REC].

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Realtime rec

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This recording method lets you record loops by playing the keyboard or controllers in real time while listening to the click sound.
¹ You can seamlessly switch between realtime rec and pattern play without stopping the pattern playback. ¹ You can clear (delete) part of the data you recorded. ¹ Refer to the list for the parameters for which motions can be recorded. Ø “Panel parameter assignment list”

TOP (pattern stop)

4 START/STOP Realtime REC

EXIT

stop

STANDBY

REALTIME REC

Loop

EDIT+ REST

Clear Step

Long-press

• Long-press [REST] while long-

pressing [EDIT] to clear the data

inputted into the steps that play while

you’re holding down the buttons.

EDIT REST

1 REC

Jump to REC STANDBY screen

• The [1]­[16] buttons operate in sequenceronly mode during recording.

2 START/STOP Realtime REC start

• The count-in sounds before recording starts.
  3 Keyboard Note input

Knob Sliders

Input motion (control change message)

• Realtime rec is loop recording.

• Overdubbing is possible.

• The [1]­[16] buttons corresponding to the steps that contain inputted notes light up.

REC
TOP (pattern play)

Switch between realtime rec/pattern play

Clear Playback direction

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Step rec

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This recording method lets you play the keys to specify the order of the note pitches. ¹ Aside from notes, you can also record the values of knobs and sliders (as a motion) for the specified steps. ¹ The current input position is called the “current step”.
TOP (pattern stop)

STANDBY

1 REC

REC

EDIT

Step REC stop

EXIT

4

START/STOP

Jump to pattern playback EDIT

Jump to REC STANDBY

STEP screen

screen

• The [1]­[16] buttons operate in sequencer-only mode during recording.

STEP REC Input notes

2 EDIT Step rec start

EDIT+ TIE Long-press

1­16 Move the current step

SHIFT+1 Move to page (STEP 1­16)

SHIFT+2 Move to page (STEP 17­32)

SHIFT+3 Move to page (STEP 33­48)

SHIFT+4 Move to page (STEP 49­64)

• Example: how to move current step to 31: press [SHIFT] + [2] to jump to page 2, and press [15]

VALUE

Changes the step length (STEP 1­64)

Changes the step 1­16 length

(only for STEPS 1­16)

• The button corresponding to the current step (the current input position) blinks.
• The step buttons for which a note has been input light up.
  Current step
  Notes inputted

Input motions

Long-press 1­16

3 Keyboard Input notes

• Once you input a note, the sequence automatically advances to the current step.

• You can play a chord to input up to eight notes per step.

• Recording ends once you’ve input the last step.

TIE

Input a tie

• A tie is input when you press [TIE] on the next step after a note that has been input.

REST Input a rest

3 Knob

Input a motion (control change message)

• Operate the knobs and sliders while long-pressing the [1]­[16] buttons, which correspond to the steps for which you want to input a motion.

• You can input up to four parameters for motions per step.

• Refer to this list for the parameters for which motions can be recorded. Ø “Panel parameter assignment list”

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Edit step
You can freely edit the patterns later that you’ve recorded.
TOP

5 EXIT

START/STOP Play/stop pattern

1 EDIT

Jump to EDIT STEP screen

Navi

• The operations below are the same as for step rec.
  ¹ Inputting a motion ¹ Moving the current step ¹ Jumping between pages ¹ Changes the step length

Editing notes

When cursor position is on left side
4 VALUE Move the cursor (up/down) When cursor position is not on left side 3 ENTER

2 VALUE Move the cursor (Left/right)

REC

EDIT

or

EXIT

4 VALUE Changes the value

REST

Clear the note (motion) on cursor position

Edit the motion
2 VALUE Move the cursor (Left/right)

When cursor position is on left side
4 VALUE Move the cursor (up/down) When cursor position is not on left side 3 ENTER

4 VALUE Changes the value

Data that can be inputted/edited

Note No. Velocity Gate Probability Sub Steps CC No. Parameter Value
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Sequencer clear
Here’s how to erase notes or motions from a pattern you’ve recorded.
TOP

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EXIT

1 EDIT+ REST

or

SHIFT+ Jump to SEQUENCE CLEAR REST screen

SEQUENCER CLEAR

1­16

Clear notes in the relevant step

• The step buttons for which a note has been input

blink.

Long-press EDIT + REST

Notes inputted SHIFT+1/2/3/4 Move to page (in units of 16 steps)

Knob

Clear a motion (control change message)

• Operate the knob or slider whose motion you want to clear while pressing [EDIT] + [REST].

• Press [EDIT] + [REC] to undo/redo (one time only)

2 VALUE
CLEAR ALL NOTES
CLEAR ALL MOTIONS

3 ENTER Execute

Selects the menu Clears all notes. Clears all motions.

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Sequencer utility
Here’s where you configure the settings for recorded patterns. TOP

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6 EXIT
5 EXIT
DUPLICATE Copies (duplicates) the entire pattern (notes and motions) to the end.

• This is disabled when Step Length is set to 64 (maximum setting).
  COPY/PASTE
  Copies the entire pattern or the contents of a specific step and pastes this to a different pattern or step.
  SHIFT STEP/NOTE
  Shifts the step position or note numbers of the entire pattern backward/forward (up/down).
  INITIALIZE PATTERN Initializes an entire pattern. The SEQUENCER SETTING parameters are also initialized.

1 SHIFT+ EDIT

Jump to SEQUENCER UTILITY screen

2 VALUE Selects the menu

ENTER 3

4 ENTER Execute

Step Length=3
VALUE Select STEP or PATTERN ENTER Confirm VALUE Select COPY or PASTE ENTER Execute
EDIT common operations (cursor/ value edit) Edits the setting VALUE Selects SET ENTER Execute
ENTER Execute

32

Navi

Sequencer utility settings

Parameter COPY/PASTE
—

Value
STEP PATTERN

COPY

–PASTE

SHIFT STEP/NOTE

Step

-16­+16

Transpose -24­+24

Explanation
Sets the contents of a single step as the target. Sets the entire contents of the pattern as the target. Copies a single step or the entire pattern. For step copy, the content is copied at the current step position (specified using the [1]­[16] buttons). Pastes a single step you copied, or the entire pattern. For step paste, the content is pasted at the current step position (specified using the [1]­[16] buttons). You can also paste the contents you copied into a separate pattern.
A positive value shifts the step position to the right, and a negative value shifts the step position to the left. A positive value shifts the pitch up, and a negative value shifts the pitch down (both in semitones).

Edit step settings

Note No. Velocity Gate Probability Sub Steps CC No. Parameter Value

Parameter EDIT STEP Note No. Velocity Gate Probability
Sub Steps
CC No. Parameter Value

Value

Explanation

C-1­G9 0­127 0­100, TIE 0­100
OFF, FLAM, 1/4, 1/3, 1/2
CC001­CC119, BEND — 0­127 (255)

Note number Sets the strength with which the notes sound that you play on the keyboard. Sets the note-on length ratio for the step. TIE: The notes of the current step are connected to the notes of the next step with a tie. Sets the probability for the step to sound. Sets the manner in which sounds play repeatedly within a step.
1 step
OFF FLAM 1/4 1/3 1/2
Control change number
Parameter name Value

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System settings

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Here’s where you configure the overall settings for this instrument. ¹ The system settings are saved internally as a single collection. The settings are saved automatically when you return to the menu
screen. ¹ Do not turn off the power when “Now Writing…” is shown on the screen.
TOP

EXIT EXIT 6 EXIT

MENU 1 2 VALUE Select System

ENTER 3

4 VALUE Selects the menu

5 ENTER

GENERAL Configures various settings such as tuning and output level. CONTROLLER Configures the settings for the controllers and so on. MIDI
Configures the MIDI settings.
USB Configures the USB settings.

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Master effects

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This configures the common master effect settings for the overall instrument. ¹ The master effect settings are saved internally as a single collection. The settings are saved automatically when you return to the
menu screen. ¹ Do not turn off the power when “Now Writing…” is shown on the screen.
TOP

EXIT

MENU 1

2 VALUE Select Mstr FX

EXIT

ENTER 3

4 VALUE Select EQ or Comp

6 EXIT

5 ENTER

MASTER EQ
Configures the master EQ settings.
MASTER COMP
Configures the master compressor settings.

VALUE ENTER

Select [TEMPLATE] TEMPLATE screen

MASTER EQ TEMPLATE

MASTER COMP TEMPLATE

VALUE Selects a template EXIT Cancel ENTER Confirm

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File/utilities
Backup
Here’s how to back up data stored on this instrument to a USB flash drive.
Data that is backed up ¹ User tone data ¹ System settings * The backup file (.SVD) is saved to the following location: USB MemoryROLANDGAIA-2BACKUP.

Navi

USB MEMORY/EXT DEVICE port

EXIT

MENU 1

2 VALUE Select “File”

EXIT

ENTER 3

4 VALUE Select “Backup”

EXIT
Input filename
EXIT

ENTER

5
Cursor mode
Move the cursor : insert : delete
6 Select “OK”

ENTER
VALUE SHIFT+ VALUE VALUE

Character select mode
Change the character
: uppercase : lowercase

ENTER 7

8 VALUE Select “OK” ENTER Execute

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Restore

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Here’s how to restore data that you backed up on a USB flash drive to this instrument.

• All user data is overwritten when you execute the restore operation. If you’ve saved important data on this instrument, assign it a different name and back it up to a USB flash drive before you restore.

USB MEMORY/EXT DEVICE port

EXIT

MENU 1

2 VALUE Select “File”

EXIT

ENTER 3

4 VALUE Select “Rstr”

EXIT

ENTER 5

Select file to restore

6 VALUE Select file to restore

EXIT

ENTER 7

8 VALUE Select “OK” ENTER Execute

• Once “Completed” appears, turn the power off and then on again.

37

Export
Here’s how to export selected user tone data to a USB flash drive. You can’t use the user tone data of the GAIA-2 with any other model. The export file (.SVZ) is saved to the following location: USB MemoryROLANDSOUND.
USB MEMORY/EXT DEVICE port

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EXIT

MENU 1

2 VALUE Select “File”

EXIT

ENTER 3

4 VALUE Select “Export”

EXIT
EXIT
Input filename
EXIT

ENTER 5

6 VALUE Select a tone

7 MENU Mark the tones to export

MENU+ VALUE

Select tone while marking

MENU+ ENTER

Mark all tones

ENTER 8

ENTER

Cursor mode
Move the cursor
: insert : delete Select “OK”

ENTER
VALUE SHIFT+ VALUE VALUE

Character select mode
Change the character
: uppercase : lowercase

VALUE Select “OK” ENTER Execute

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Import

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Here’s how to import the tones you exported into user tones.

• Save the file you wish to import (.SVZ or .SDZ) to the following location: USB MemoryROLANDSOUND. * If a Model Expansion is installed, you can also import tones for that model (Model Expansion Sound Packs) that you downloaded
  from Roland Cloud.

USB MEMORY/EXT DEVICE port

EXIT

MENU 1

2 VALUE Select “File”

EXIT

ENTER 3

4 VALUE Select “Import”

EXIT

ENTER 5

6 VALUE Select the file to import

EXIT

ENTER 7

Select import source tones

• For the import destination tones, tones named “INIT TONE” are given priority when selected. Be sure to check whether any tones you don’t want to be overwritten are excluded before importing.

ENTER

Select import destination tones

ENTER

EXIT

VALUE Select a tone

8 MENU

Mark the tones you want to import

VALUE Select a tone

MENU

Mark the import destination tones

Common to 8 and

MENU+ VALUE

Select tone while marking

MENU+ ENTER

Mark all tones

VALUE Select “OK” ENTER Execute

39

Factory reset

Format

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Here’s how the settings that you edited and saved on the GAIA-2 can be returned to their factory settings.

• When you execute this operation, all saved settings including the sound parameters will be lost.
• If you will later need the current settings, be sure to use the backup function to save the current settings before you restore the factory settings. Ø “Backup”

Here’s how to format a USB flash drive.

• If the USB flash drive contains important data, be aware that this operation erases all data from the drive.

USB MEMORY/EXT DEVICE port

EXIT

MENU 1

EXIT

MENU 1

VALUE Select “Utility” 2

EXIT

ENTER 3

VALUE Select “Utility” 2

EXIT

ENTER 3

VALUE Select “Factory” 4

EXIT

ENTER 5

VALUE Select “Format” 4

EXIT

ENTER 5

6 VALUE Select target 7 ENTER Check mark on/off
Add a check mark to the items to reset. Reset User Data Resets the user data. Reset System Date Resets the system data. Remove License Resets the license.

6 VALUE Select “OK” 7 ENTER Execute

8 VALUE Select “EXEC” ENTER Execute
8 VALUE Select “OK” ENTER Execute

• When “Remove License” is executed, the registered data on Roland Cloud is deleted, and you cannot use any contents you’ve purchased, such as Model Expansions. To use the contents again, refer to the “GAIA-2 Roland Cloud User’s Guide” (Roland website) and register your license. Note that in case you accidentally executed the “Remove License” command, the data for the contents you purchased is still available. Register the same license to use the contents again.

• Once “Completed” appears, turn the power off and then on again.

40

Viewing the Software Version (Info)
You can view software version of the GAIA-2.

Navi

EXIT

MENU 1

VALUE Select “Utility” 2

EXIT

ENTER 3

VALUE Select “Info”

4

EXIT

ENTER 5

41

Overview of the GAIA-2
How the tones are organized

OSC ENVELOPE

OSC OSC 1:Wavetable

OSC 2:Synth

OSC 3:Synth

POSITION P-MOD S-MOD

PITCH SHAPE XMOD RING/

1/2/3

1/2

MOD

MIXER

FILTER ENVELOPE
FILTER
Drive FILTER
LP / BP / HP -12 -18 -24 dB

AMP ENVELOPE
AMP TONE

OSC LEVEL 1/2/3

DRIVE CUTOFF RESO

TONE LEVEL

EFFECTS

MFX

CHO

REV/ DLY

Exchangeable

MFX 1/2/3

REV/DLY 1/2/LEVEL

Up to four parameters can be assigned

LFO

1/2

STEP

UNISON

CHORD MEMORY

Parameters can be assigned to the X and Y axes

MOTIONAL PAD

RECORDER

37KEY KEYBOARD

Records notes and motions SEQUENCER

ARPEGGIO

PITCH MODULATION WHEELS

Maximum Polyphony : 22

Audio routing

TONE TONE

SYSTEM EFFECTS

MASTER COMP

MASTER EQ

METRONOME

WAVE VIEW (L ch)
USB AUDIO USB THRU (Default: OFF)

OUTPUT USB OUT
USB IN

42

Connecting to an external device

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• To prevent malfunction and equipment failure, always turn down the volume, and turn off all the units before making any connections.

A

B

C

D

E

A MIDI IN, MIDI OUT connectors You can connect a MIDI device to this connector.
B PEDAL jack You can connect an expression pedal (EV-5, sold separately) or pedal switch (DP series, sold separately) to this jack.

• Be sure to use only one of these specified pedals. Connecting expression pedals made by third-party manufacturers may cause this unit to malfunction.

C USB MEMORY/EXT DEVICE port (USB A) Connect a commercially available USB flash drive, external USB device or Roland Cloud Connect (WC-1) here.

• Never turn off the power or unplug the USB flash drive while “ÀÀ %” is shown in the display, which indicates that the a write operation is in progress.
  D USB COMPUTER port (USB Type-C®) Connect the USB port of your computer or mobile device to this port.
• Do not use a USB cable that is designed only for charging. Charge-only cables cannot transmit data.

E Ground terminal Connect this to an external earth or ground if necessary.

43

Connection example: USB MEMORY/EXT DEVICE port (USB A)
¹ You can connect a USB flash drive to the instrument for exchanging data, creating a backup and so on. ¹ You can also connect a MIDI keyboard or other external MIDI controller for use with this instrument. ¹ Further, you can connect a Roland Cloud Connect (WC-1) to access and use your Roland Cloud contents via Wi-Fi.

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Connecting a USB flash drive
USB MEMORY/EXT DEVICE port

Connecting the Roland Cloud Connect (WC-1)
Roland Cloud
WC-1 USB MEMORY/EXT DEVICE port

Connecting to a MIDI controller
USB cable USB A — USB Type-C® / USB B
USB MEMORY/EXT DEVICE port

• For more details, see the related manuals on the Roland website.
  https://roland.cm/wc1
  A-88MKII / another MIDI controller

• You can power a MIDI controller from the GAIA-2, provided that the MIDI controller’s power consumption is 500 mA or less.

• Configure the GAIA-2 system parameters when using a MIDI controller. When connecting a general external MIDI keyboard, set the “Remote Kbd” SYSTEM MIDI parameter to “USB MEM”.

44

Connection example: USB COMPUTER port (USB Type-C®)

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¹ You can connect this instrument to a computer (Windows/Mac) for music production with your DAW or other software. ¹ This instrument is USB Class Compliant, and can be connected directly to your smartphone or tablet via audio or MIDI data
transmission. Do not use a USB cable that is designed only for charging. Charge-only cables cannot transmit data. We cannot guarantee the correct functionality of all apps. Android devices are not guaranteed to work with this instrument. ¹ This instrument is AIRA LINK-compatible, and can be connected to a Roland MX-1 via USB cable (When doing so, set the USB driver to “VENDOR”). You cannot use the USB power supply functionality of the MX-1 with the GAIA-2. ¹ You can connect the GAIA-2 to a computer, USB AC adaptor or other power supply of 1.8 A or greater to power this instrument. * To power this instrument, connect using a USB cable (with USB Type-C® connectors on both ends). Although this instrument can
be connected to a computer via USB cable (USB Type-C® – USB Type-A), you cannot power this instrument in this way.
Connecting to a Mac/Windows computer

USB cable USB Type-C®–USB Type-C® / USB A

USB COMPUTER port

USB driver setting: GENERIC (Class Compliant)/VENDOR (Roland driver)

Connecting to an iPhone/iPad
USB cable USB Type-C®–USB Type-C® / USB A
USB COMPUTER port

USB Type-C®

USB driver setting: GENERIC (Class Compliant)

Lightning
Apple Lightning to USB 3 camera adapter

• We have confirmed that noise may occur when connecting certain Apple products featuring a Lightning connector using Apple’s Lightning to USB Camera Adapter. This may be resolved by using the Lightning to USB 3 Camera Adapter instead. For more details and for the latest support information, see “GAIA-2 Support Information”.
• See the product information released by Apple for the differences between the Lightning to USB Camera Adapter and the Lightning to USB 3 Camera Adapter.

Using AIRA LINK

USB cable USB Type-C®–USB A

USB cable USB A–USB B

USB COMPUTER port

USB Host 1­4

USB driver setting: VENDOR (Roland driver)

MX-1

AIRA LINK-compatible models (TR-8S, etc.)

45

Parameter list

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Cell color Blue Green Orange

Explanation Parameters that can be directly operated from the panel. Parameters that can be directly operated from the panel (while the SHIFT button is pressed). Standard parameters that can be edited from the SOUND screen.

MOTION

Parameter

Value

Explanation

MOTION SETTING

Motion

OFF, ON

Turn this “ON” to play back the motion.

Speed

-10.0, -9.5, ­ -0.02, 0, Selects the playback speed of the motion (tempo, or value relative to one +0.02, ­+9.5, +10.0 measure).

X

­ (*1)

Assigned parameter for X displacement

Y

­ (*1)

Assigned parameter for Y displacement

X Depth

-63­+63

Parameter sensitivity relative to X displacement (same as LFO Depth)

Y Depth

-63­+63

Parameter sensitivity relative to Y displacement (same as LFO Depth)

Loop

OFF, ON

Loop playback on/off

Key Trig

OFF, ON

When set to “ON”, the motion starts playing back when you play a key.

Tempo Sync on/off.

Sync

OFF, ON

When set to “ON”, the playback length of one loop at Speed +1.0 is equal to a

whole note.

Sets whether to return the pad to center position when you take your hand off the pad.

OFF

Retains the position even after you take your hand off the pad.

SLUG

Returns to center position extremely slowly after you take your hand off the pad.

Snap Back SLOW

Returns to center position slowly after you take your hand off the pad.

MID

Returns to center position at regular speed after you take your hand off the pad.

FAST

Returns to center position quickly after you take your hand off the pad.

IMMD

Returns to center position immediately after you take your hand off the pad.

*1 Refer to this list for the assignable parameters. Ø “Panel parameter assignment list”

46

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ARPEGGIO

Parameter

Value

Explanation

ARPEGGIO SETTING

Arp Sw

OFF, ON

Turns the arpeggio on/off.

Duration

0­100%

Sets the length (ratio) used for playing back each note length in the arpeggio pattern.

Shuffle Rate 0­100%

Creates a shuffle rhythm by varying the timing at which the upbeat notes play.
When this setting is “50%”, notes are sounded at equal spacing. Increasing the value adds a shuffle feel like a dotted-note rhythm.

Oct Range -3­+3

Specifies the range of octaves in which the arpeggio is sounded.
You can specify whether the arpeggio is sounded in the octave(s) above (+) or below (-) the notes you play.

Transpose

-36­+36

Shifts the arpeggio notes in semitone steps.

Sets the order in which notes are played by the arpeggio when you play a chord.

UP

The notes are played from the lowest key you played to the highest.

Mode

DOWN UP&DOWN

The notes are played from the highest key you played to the lowest. The notes are played from low to high, and then from high to low.

RANDOM

The notes are played in random order.

NOTE ORDER

The notes are played in the order in which you play them.

This sets the note value that the shuffle is based on.

Shuffle Reso 16TH, 8TH

16TH: sixteenth note

8TH: eighth note

Scale

1/1, 1/2, 1/4, 1/8, Sets the length of a single note in the arpeggio pattern. 1/16, 1/32, 1/2T, 1/16: sixteenth note 1/4T, 1/8T, 1/16T, 1/16T: sixteenth note triplets 1/2., 1/4., 1/8., 1/16. 1/16.: Dotted sixteenth note

Velocity

REAL, 1­127

Sets the velocity of notes played by the arpeggiator. To make the arpeggio play at the strength (velocity) with which you play the keys, set this to “REAL”. If you want the velocity to be a fixed value regardless of your actual playing dynamics, specify that value (1­127).

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SEQUENCER

Sequencer settings

Parameter Value

Explanation

SEQUENCER SETTING

Step Length 1­64

Sets the length (number of steps) of the pattern.

Scale

1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/1T, 1/2T, 1/4T, 1/8T, 1/16T

Sets the length of each step in the pattern. 1/16: sixteenth note 1/16T: sixteenth note triplets

Sets the step playback order when the pattern plays back.

FWD

The steps play back in order from step 1.

REV

The steps play back in order from the last step.

Mode

FWD+REV

The steps are played in order from step 1, and then in reverse from high to low.

INV

The even- and odd-numbered steps are inverted when played.

RND

The steps are played in random order.

KEY_TRIG

The notes play back from step 1 in order, but only while a key is being played.

Gate Ratio -128­+127

Specifies the gate length. This is common for all steps.

Shuffle

-90­+90

Sets the timing at which the even-numbered steps play.

Motion

OFF, ON

Turns the motion (control change message) playback on/off.

Smooth

OFF, ON

When this is on, the motion plays back smoothly.

Play/Trans OFF, ON

OFF: The pattern plays back as-is. ON: The pattern plays back transposed according to the key you press.

Random pattern settings

Parameter Value

Explanation

RANDOM PATTERN

Key

C2(36)­C7(96)

Sets the base pitch for generating the pattern.

Scale

Sets the scale of pitches used for generating the pattern. IONIAN, DORIAN, PHRYGIAN, LYDIAN, MIXOLYDIAN, AEOLIAN, LOCRIAN

Sets the ratio at which the notes out of the scale notes specified in Scale are used in the generated pattern.

Balance

CHORD MIX1

Only chord tone notes are used in the pattern. Any notes within the scale are used in the pattern.

MIX2

As the balance approaches MIX1ØMIX2ØALL, more tones are likely to be used

ALL

that are not chord tones.

Octave

1­4

Specifies the note range for the generated pattern, in octaves.

Velocity Lo 1­126

Sets the lower limit for the velocity variations within the generated pattern.

Velocity Hi 2­127

Sets the upper limit for the velocity variations within the generated pattern.

Gate Amount 1­16

Sets the gate time length for the notes of the generated pattern.

Busyness 10­100%

Sets the frequency (likelihood of occurrence) at which notes are generated within the pattern.

Length

1­64

Sets the length (number of steps) of the generated pattern.

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TONE parameters
TONE
GAIA-2

Parameter OSC1 Range
Pitch
Wavetable Position

Value

Explanation

64′, 32′, 16′, 8′, 4′, 2′ -1200­0­+1200 (cent)
0­127

Adjusts the octave of the oscillator. Adjusts the pitch of the oscillator.

• The pitch may not reach the value that you set, depending on the sound parameter settings.
  Adjusts the wavetable position.
  Selects the shaping modulation table.

S-Mod Table Number

1­15

P-Mod Limiter Sw Wave P-Mod X P-Mod Y S-Mod Depth S-Mod Drive
OSC2 / OSC3
Range Pitch
Waveform
Sine Shape Select
Triangle Shape Select

OFF, ON
1­63 -63­0­+63 -63­0­+63 0­127 0­127

When set to “ON”, this limits the depth of the phase modulation X direction.
Selects the wavetable. Adjusts the depth of the phase modulation X direction. Adjusts the depth of the phase modulation Y direction. Adjusts the intensity of the shaping depth for shaping modulation. Adjusts how much drive is applied to the shaping modulation.

64′, 32′, 16′, 8′, 4′, 2′ Adjusts the octave of the oscillator.

-1200­0­+1200 (cent)

Adjusts the pitch of the oscillator.

• The pitch may not reach the value that you set, depending on the sound parameter settings.

Selects the oscillator waveform.

SIN

Sine wave

TRI

Triangle wave

SAW

Sawtooth wave

PULSE

Pulse wave

SUPER-SAW

Super-Saw

NOISE

Noise

Sets what happens when you operate a sine wave shape.

PW, FAT

PW: Alters the waveform width.

FAT: Emphasizes the lower frequencies.

Sets what happens when you operate a triangle wave shape.

PW, FAT

PW: Alters the waveform width.

FAT: Emphasizes the lower frequencies.

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Parameter

Value

Explanation

Saw Shape Select

PW, FAT

Sets what happens when you operate a sawtooth wave shape. PW: Alters the pulse width. FAT: Emphasizes the lower frequencies.

Pulse Shape Select

PW, FAT

Sets what happens when you operate a pulse wave shape. PW: Alters the pulse width. FAT: Emphasizes the lower frequencies.

Noise Vari

Sets the combination of noise that changes when you operate a noise shape. White-Pink, Pink-Applause, Stream-Bubble, VinlNz-EngineLp, MtlWind-DentNz

Shape

0­255

Adjusts the changes to the waveform shape. Detune changes when you select the SUPER-SAW.

Click Type

SOFT, HARD, NATURAL, OFF

Changes the attack by altering the start position of the sound.

COMMON

Tempo

20.00­300.00

Sets the tempo of the tone (including the arpeggio, motion and sequencer).

Level

0­127

Adjusts the overall volume for all tones.

Sets the panning for the tone.

Pan

L64­0­63R

A setting of “L64” pans the sound all the way to the left, “0” pans the sound to the

center, and “63R” pans the sound all the way to the right.

Sets whether the tones play in polyphonic (POLY) or monophonic (MONO) mode.

Mono/Poly MONO

Only one sound at a time plays, and only the last key you played produces sound.

POLY

More than one sound can play at the same time.

Legato Switch OFF, ON

When Mono/Poly is “MONO” and Legato Switch is “ON”, legato is applied to the notes.
“Legato” is a performance technique that smoothly connects one note to the next. This produces an effect similar to hammering-on or pulling-off when playing a guitar.

Portamento Time

0­255

When portamento is used, this sets the time taken for the pitch to change. Higher settings cause the pitch to take longer when gliding to the next note. A value of “0” turns the portamento “OFF”.

Unison Switch OFF, ON

This layers a single sound.
If the Unison Switch is “ON”, the number of notes layered on one key will change according to the number of keys you play.

Unison Detune 0­63

Creates a detuned effect by shifting the tuning of the layered notes. Larger values detune the sounds more, making the overall sound thicker.

Unison Spread 0­63

Spreads out the layered sounds over the stereo field. Larger values increase the spread effect.

Chord Switch OFF, ON

Turns the chord memory function on/off.

Hold Switch OFF, ON

While this is “ON”, the notes you play keep sounding even after you take your fingers off the keyboard.

Category

Selects the tone category. No Assign­Vocoder (*) The GAIA-2 does not have a built-in vocoder.

MIXER

OSC1 Level 0­127

Adjusts the OSC1 volume.

OSC2 Level 0­127

Adjusts the OSC2 volume.

OSC3 Level 0­127

Adjusts the OSC3 volume.

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Parameter

Value

Explanation

OSC MODULATION

Sets how the modulation that applies to OSC2 and OSC3 works.

Ring/Sync

OFF RING

Nothing is applied. Ring modulation is applied.

SYNC

OSC sync is applied.

XMOD Type XMOD1, XMOD2 Selects the cross-modulation type.

XMOD1 Depth 0­255

Adjusts the depth of XMOD1.

XMOD2 Depth 0­127

Adjusts the depth of XMOD2.

XMOD2 Sens -63­0­+63

Adjusts the OSC envelope depth.

XMOD2 Velocity Sens

-100­0­+100

Adjusts the intensity of XMOD2 Depth, according to how hard you play the keys.

• The following limitations exist for the Sync and XMOD2 effect, according to the waveform you select for OSC2, 3.

Sync

OSC3 SIN TRI SAW PULSE S-SAW NOISE

XMOD2

SIN

µµ µ µ — —

SIN

TRI

µµ µ µ — —

TRI

SAW µ µ µ µ — —

SAW

OSC2 PULSE µ µ µ µ

—

— OSC2 PULSE

SUPERSAW

—

—

—

—

—

—

SUPERSAW

NOISE — — — —

—

—

NOISE

OSC3 SIN TRI SAW PULSE S-SAW NOISE
µµ µ µ µ µ µµ µ µ µ µ µµ µ µ µ µ µµ µ µ µ µ
—- — — — —
—- — — — —

OSC ENVELOPE

This selects the parameter that’s applied to the OSC envelope.

OSC Env Sel

PITCH, OSC1 POS, OSC2 SHAPE, OSC3 SHAPE, OSC1 P-MOD X, OSC1 P-MOD Y, OSC1 S-MOD DPT, OSC1 S-MOD DRV

O-Env Attack Time

0­255

Adjusts the time it takes for the value set in Env depth to be reached after you press a key.

O-Env Decay Time

0­255

Adjusts the time it takes to return to the initial value from the value set in Env depth.

OSC1 Pitch Env Enable

OFF, ON

Sets whether to apply the pitch envelope (ON) or not (OFF) to OSC1.

Pitch Env Depth -100­0­+100

When you turn the knob clockwise, the pitch goes up and then returns to the pitch of the key you press. When you turn the knob counterclockwise, the pitch goes down and then returns to the pitch of the key you press.

• The effective pitch env depth range for OSC1 is -63­+63.

• The pitch may not reach the value that you set, depending on the sound parameter settings.

Pitch Env V-Sens

-100­0­+100

Adjusts how much the pitch envelope is applied in response to how hard you play the keys.

OSC1 WT Pos Env Depth

-63­0­+63

Adjusts the depth of change to wavetable position by the OSC envelope.

OSC2 Shape Env Depth

-63­0­+63

Adjusts the depth of change to OSC2 shape by the OSC envelope.

OSC3 Shape Env Depth

-63­0­+63

Adjusts the depth of change to OSC3 shape by the OSC envelope.

OSC1 P-Mod X Env Depth

-63­0­+63

Adjusts the depth of change to phase modulation X by the OSC envelope.

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Parameter

Value

Explanation

OSC1 P-Mod Y Env Depth

-63­0­+63

Adjusts the depth of change to phase modulation Y by the OSC envelope.

OSC1 S-Mod Dpt Env Dpt

-63­0­+63

Adjusts the depth of change to shaping modulation depth by the OSC envelope.

OSC1 S-Mod Drv Env Dpt
LFO 1 / LFO 2

-63­0­+63

Adjusts the depth of change to shaping modulation drive by the OSC envelope.

Selects the waveform of the LFO.

SIN (LFO 1)

Sine wave

Waveform

TRI (LFO 2) SAW SQR

Triangle wave Sawtooth wave Square wave

RND

Random wave

S&H

Sample & Hold wave (one time per cycle, LFO value is changed)

STEP

A waveform generated by the data specified by LFO Step 1­16. This produces stepped change with a fixed pattern similar to a step modulator.

Rate Note Sync Switch

OFF, ON

Set this ON if you want the LFO rate to synchronize with the tempo.

Rate

0­255

This is effective if Rate Sync is OFF.
Specifies the LFO rate without regard to the tempo. Higher values produce a faster LFO rate (a shorter cycle).

Rate Note

This is effective if Rate Sync is ON. Specifies the LFO rate in terms of a note value.
4, 2, 1., 2T, 1, 1/2., 1T, 1/2, 1/4., 1/2T, 1/4, 1/8., 1/4T, 1/8, 1/16., 1/8T, 1/16, 1/32., 1/16T, 1/32, 1/32T, 1/64, 1/64T

Key Trigger Switch

OFF, ON

Sets whether to synchronize the start of the LFO cycle with the timing you use when pressing the keys (“ON” to synchronize, “OFF” to disable).

Delay Time 0­255

Sets the time it takes before the LFO effect is applied after you press a key.

Fade Time Step Length

0­255 1­16

Step 1-16

-72­0­+72

Specifies the time it takes for the LFO to reach its maximum amplitude after it begins to be applied.
This is effective if Waveform is STEP.
Sets the step size for looping.
This is effective if Waveform is STEP.
Specify the Depth value of each step.
When this is set in scale (100 cent) units, you can use Assign to select OSC1 (or OSC2) Pitch, and set step in units of six (six steps equals a semitone) to change the octave over a range of ±1 octaves.

0­36

Specifies the type of curve at each step.

Step Curve 0

Step Curve 11­15 (variations of descending saw)

11

12

13

14

Step Curve 24­27

(variations of ascending charging curve)

24

25

26

27

Step Curve 1­6 (variations of square wave)

15

1

2

3

4

Step Curve 1-16 5 6

Step Curve 7­10 (variations of ascending saw)

7

8

9

10

Step Curve 16­19 (variations of ascending exponential)

16

17

18

19

Step Curve 20­23

(variations of descending exponential)

20

21

22

23

Step Curve 28­31

(variations of descending charging curve)

28

29

30

31

Step Curve 32­36 (other variations)

32

33

34

35

36

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Parameter

Value

Explanation

Select the parameter to which you want to assign the LFO.

Asgn 1­4

OFF, LFO2 RATE (LFO1), LFO1 RATE (LFO2), OSC1 PITCH, OSC2 PITCH, OSC3 PITCH, OSC1 POS, OSC2 SHAPE, OSC3 SHAPE, PITCH DEPTH, PITCH ATK, PITCH DCY, XMOD, OSC1 LEVEL, OSC2 LEVEL, OSC3 LEVEL, DRIVE, CUTOFF, RES, FENV DEPTH, FENV-ATK, FENV-DCY, FENV-SUS, FENV-REL, AENV-ATK, AENV-DCY, AENV-SUS, AENV-REL, LEVEL, MFX1 (changes according to the assigned MFX Type), MFX2 (changes according to the assigned MFX Type), MFX3 (changes according to the assigned MFX Type), REV1 (changes according to the assigned REV/DLY Type), REV2 (changes according to the assigned REV/DLY Type), REVERB LEVEL, OSC1 P-MOD X, OSC1 P-MOD Y, OSC1 S-MOD DPT, OSC1 S-MOD DRV

Asgn 1­4 Depth -63­0­+63

Adjusts the depth of the LFO applied to the assigned parameter.

FILTER

Selects the type of filter.

Low pass filter.

LPF

This cuts off frequencies above the cutoff frequency. Cutting off the high frequencies makes the sound more mellow. This is the most frequently-used

type.

Type BPF

Band pass filter.
This cuts off frequencies except for those around the cutoff frequency. This filter type is useful for making sounds with a unique character.

High pass filter.

HPF

This cuts off frequencies below the cutoff frequency. This filter type is useful for

creating percussion sounds and the like that have a distinctive high end.

Slope

-12, -18, -24 [dB/oct]

Selects the filter slope.

Cutoff Freq 0­255

Sets the frequency at which the filter that is applied to the frequency components of the waveform begins to take effect (the cutoff frequency).

Resonance 0­255

Emphasizes the portion of the sound around the cutoff frequency, adding character to the sound.
Excessively high settings can produce oscillation, causing the sound to distort.

Set this to make the cutoff frequency change according to the keys you play.

Cutoff frequency (Octave)

+200

+100

+2

+50

Cutoff Key Follow

-200­0­+200

+1 o

0

-1 -50
-2

-2000

-100

C1

C2 C3 C4

C5

C6

C7 Key

Drive

0­255

Drive Makeup Sens

-60­0 [dB]

Adjusts how much the filter distorts the signal. Adjusts the output level from the filter when Drive is applied. Adjusts the volume with distortion still applied.

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Parameter

Value

Cutoff Velocity Sens

-100­0­+100

Reso Velocity Sens

-100­0­+100

FILTER ENVELOPE

Depth

-63­0­+63

Velocity Sens -100­0­+100
Attack Time 0­255 Decay Time 0­255 Sustain Level 0­255 Release Time 0­255

Explanation
Sets how much the cutoff frequency changes according to how hard you play the keys. Set this to a “+” value to increase the cutoff frequency when you play harder, and set this to a “-” value to decrease the cutoff frequency when you play harder.
Sets how much the resonance depth changes in response to how hard you play the keys. Set this to a “+” value to make the resonance increase when you play harder, and set this to a “-” value to make the resonance decrease when you play harder.
Specifies the depth of the Filter envelope. Higher settings increase the change produced by the Filter envelope. Negative (-) value will invert the shape of the envelope.
Use this to set how much the filter envelope changes in response to how hard you play the keys. Specify a positive “+” value if you want the filter envelope to apply more deeply as you play more strongly, or a negative “-” value if you want it to apply less deeply.
Adjusts the time it takes for the cutoff frequency to reach the maximum level from the time that a key is pressed.
Adjusts the time it takes for the envelope to reach the sustain level after the cutoff frequency reaches maximum.
Adjusts the cutoff frequency used when the envelope has passed its attack and decay times, before you take your finger off the key.
Adjusts the time it takes for the cutoff frequency to fall to minimum level after you take your finger off the key.

AMP
Level Tone
Velocity Sens

0­127 -63­0­+63
-100­0­+100

Adjusts the volume of the tone.
Adjusts the tonal character of the tone.
Sets how much the volume changes according to how hard you play the keys. Set this to a “+” value to make the volume louder when you play harder, and set this to a “-” value to make the volume softer when you play harder.

AMP ENVELOPE
Attack Time 0­255 Decay Time 0­255 Sustain Level 0­255

Adjusts the time it takes for the volume to reach maximum from the moment you play a key.
Adjusts the time it takes for the envelope to fall to the sustain level after the volume reaches maximum.
Adjusts the volume used when the envelope has passed its attack and decay times, before you take your finger off the key.

Release Time
CONTROL

0­255

Adjusts the time it takes for the volume to fall to minimum after you take your finger off the key.

Specifies the function assigned to the pedal connected to the PEDAL jack.

Pedal Func

OFF, MODULATION, HOLD1, EXPRESSION, VOLUME, PAN, BEND DOWN, BEND UP, HOLD SW, MONO SW, MFX SW, CHO LEVEL, REV LEVEL, REV SEND, BEND MODE, ARP SW, ARP SHUFFLE, ARP DURATION, START/STOP, TAP TEMPO, TONE DOWN, TONE UP

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Parameter

Value

Explanation

Pedal Pole

STANDARD, REVERSE

Specifies the polarity of the pedal connected to the PEDAL jack.

Keyboard Velocity

REAL, FIXED

Specifies whether the velocity value changes according to the actual strength of your playing (REAL) or is always a fixed velocity value regardless of how you play (FIXED).

Key Fixed Velocity

1­127

Sets the velocity used when Keyboard Velocity is “FIXED”.

Sets how much the pitch changes (in semitones) when the pitch wheel is moved to its highest point.

Bend Up Range

0­24 (semitone)

For example, when this is set to “24” and you push the pitch wheel all the way up (away from you), the pitch goes up two octaves.

• The pitch may not reach the value that you set, depending on the sound parameter settings.

Bend Down Range

Sets how much the pitch changes (in semitones) when the pitch wheel is moved to

0­24 (semitone)

its lowest point. For example, when this is set to “24” and you push the pitch wheel all the way down

(towards you), the pitch goes down two octaves.

NORMAL

The pitch bend effect works normally.

Bend Mode

C+L (CATCH + LAST)

The pitch bend effect applies only to the last-played note. If a note-on occurs while pitch bend is already applied, the new note sounds at the center pitch. The pitch starts changing only after the controller passes through the center position.

Mod Mode

This selects the parameter to which modulation is applied when you operate the MOD wheel.
PIT-LFO, FLT-LFO, AMP-LFO, CUTOFF, OSC1-POS, OSC1-PMOD-X, OSC1-PMOD-Y, OSC1 -SMOD-DEPTH, OSC1-SMOD-DRIVE

Mod LFO Source

LFO1, LFO2 Selects the LFO controlled by the MOD wheel.

Mod LFO Rate Sens

-63­0­+63

Adjusts how much the rate changes according to the modulation amount. With greater values, the rate gets faster according to the amount of modulation.

Mod Sens

-63­0­+63 Adjusts the depth at which the MOD wheel affects the LFO.

Mod OSC1 Pitch LFO Sw

OFF, ON

Sets whether to apply Pitch LFO to OSC1 using the MOD wheel (ON) or not (OFF).

Mod OSC2 Pitch LFO Sw

OFF, ON

Sets whether to apply Pitch LFO to OSC2 using the MOD wheel (ON) or not (OFF).

Mod OSC3 Pitch LFO Sw

OFF, ON

Sets whether to apply Pitch LFO to OSC3 using the MOD wheel (ON) or not (OFF).

REV/DLY Knob Mode

LEVEL, SEND

Switches the functions of the REVERB/DELAY [LEVEL] knob and the [SEND] knob (+ SHIFT operation).

This sets the routing for the MFX, CHO and REV/DLY.

FX Order

MFX->CHO->REV MFX->REV->CHO CHO->MFX->REV CHO->REV->MFX REV->MFX->CHO REV->CHO->MFX

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MFX parameters assignment list

MFX Type

Equalizer

SuperFilter

Filter

MM Filter Enhancer

Humanizer

Side Band Filter

Resonator

Phaser

Script 90

Phaser

Script 100 Step Phaser

M StagePhsr

Inf Phaser

Flanger Flanger SBF-325

Hexa-Chorus

Chorus

Trem Chorus Space-D

CE-1

SDD-320

Auto Pan

Slicer

Modulation VK Rotary
Scatter

To-Gu-Ro

Downer

Overdrive

Distortion

Fuzz

Fattener
Drive/Amp Saturator

W Saturator

Gt Amp Sim

EP Amp Sim

Speaker Sim

MFX CTRL1

MFX CTRL2

MFX CTRL3

Parameter

LFO Asgn Parameter

LFO Asgn Parameter

LFO Asgn

Mid1 Freq

— Mid1 Gain

— Mid1 Q

—

Filter Cutoff

µ Filter Resonance

µ Rate *1

µ

Filter Type

µ Filter Tone

µ Filter Color

µ

Sens

µ High Gain

— Mix

µ

Rate *1

µ Vowel1

— Vowel2

—

Band Interval

µ Band Width

µ Balance

µ

Root

µ Chord

µ Bright

µ

Mode

— Rate *1

µ Depth

—

High Gain

— Speed

µ Depth

—

Resonance Manual

µ Rate 1 µ Rate 1

µ Mix

µ

µ Step Rate *1

µ

Rate *1

µ Resonance

µ Mix

µ

Speed

µ Resonance

µ Mix

µ

Rate *1

µ Depth

— Feedback

µ

Rate *1

µ Depth

µ Manual

µ

Rate *1

µ Depth

— Balance

µ

Chorus Rate

µ Tremolo Rate *1

µ Balance

µ

Rate *1

µ Depth

— Balance

µ

Intensity

µ Low Gain

— Hi Gain

—

Mode

µ Low Gain

— Hi Gain

—

Mod Wave

— Rate *1

µ Depth

µ

Rate *1

µ Attack

µ Shuffle

µ

Speed

µ Brake

µ Spread

—

Type

µ Depth

µ Scatter Switch

µ

Depth

µ Rate *1

µ Resonance

µ

Depth

µ Rate *1

µ Filter

µ

Drive

µ Tone

µ Amp Type

—

Drive

µ Tone

µ Amp Type

—

Drive

µ Tone

µ Level

—

Odd Level

µ Even Level

µ Level

—

Drive Drive

µ DrvPost3 Freq µ EQ Low Gain

— DrvPost3 Gain

—

µ Drive Balance

µ

Pre Amp Drive

µ Pre Amp Master

µ Direct Level

—

Speaker Type

— Tremolo Speed *1 µ Tremolo Depth

µ

Speaker Type

— Mic Level

µ Direct Level

µ

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MFX List

Navi

MFX Type

Compressor

Comp/Limiter Limiter
Sustainer

Transient

Delay

Mod Delay

Delay

2Tap PanDly 3Tap PanDly

ReverseDly

Tape Echo

Looper

DJFX Looper BPM Looper

Lo-fi

LOFI Comp Bit Crusher

Phonograph

Pitch

Pitch Shifter 2Voice Pitch Shifter

Combination JD Multi

MFX CTRL1

Parameter

LFO Asgn

Threshold

µ

Threshold

µ

Sustain

µ

Attack

µ

Feedback

µ

Feedback

µ

Delay Time *1

µ

Center Feedback µ

Rev Delay Feedback

µ

Repeat Rate

µ

Length

µ

Length

µ

LoFi Type

—

Sample Rate

µ

Frequency Range —

Coarse

µ

Pitch1 Coarse

µ

DS Drive

µ

MFX CTRL2

Parameter

LFO Asgn

Attack

µ

Release

µ

Attack

µ

Release

µ

HF Damp

—

Rate *1

—

Delay Feedback

µ

HF Damp

—

Delay 3 Feedback µ

Intensity

µ

Speed

µ

On Timing

—

Post Filter Cutoff

—

Bit Down

—

Total Noise Lev

µ

Feedback

µ

Pitch2 Coarse

µ

PH Mix

µ

MFX CTRL3

Parameter

LFO Asgn

Post Gain

—

Post Gain

—

Post Gain

—

Output Gain

—

Balance

µ

Balance

µ

Balance

µ

Balance

µ

Balance

µ

Echo Level

—

Loop Sw

µ

On Length

—

Balance

µ

Filter

µ

Total W/F

µ

Balance

µ

Balance

µ

EH Mix

µ

*1 When Rate Sync Switch is ON, the Rate changes depending on the note you play. LFO assign is disabled. When Rate Sync Switch is OFF, the Rate changes in Hz or in msec.

MFX Common Parameters

Parameter Type Switch

Value 00­53 OFF, ON

Explanation Selects the MFX type. Switches the MFX on/off.

57

00 Thru

MFX List

Filter

01 Equalizer
This is a four-band stereo equalizer (low, mid x 2, high).

L in

4-Band EQ

L out

R in

4-Band EQ

R out

Parameter Low Freq Low Gain
Mid1 Freq
Mid1 Gain Mid1 Q
Mid2 Freq
Mid2 Gain Mid2 Q
HighFreq High Gain Level

Value

Explanation

20, 25, 31, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400 [Hz]

Frequency of the low range

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

200, 250, 315, 400, 500,

630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000,

Frequency of the middle range 1

5000, 6300, 8000 [Hz]

-15­+15 [dB]

Gain of the middle range 1

0.5, 1.0, 2.0, 4.0, 8.0

Width of the middle range 1. Set a higher value for Q to narrow the range to be affected.

200, 250, 315, 400, 500,

630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000,

Frequency of the middle range 2

5000, 6300, 8000 [Hz]

-15­+15 [dB]

Gain of the middle range 2

0.5, 1.0, 2.0, 4.0, 8.0

Width of the middle range 2. Set a higher value for Q to narrow the range to be affected.

2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, Frequency of the high range 12500, 16000 [Hz]

-15­+15 [dB]

Amount of boost/cut for the high-frequency range

0­127

Output Level

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02 SuperFilter
This is a filter with an extremely sharp slope. The cutoff frequency can be varied cyclically.

L in

Super Filter

L out

R in

Super Filter

R out

Parameter Type
Slope Cutoff Resonance Gain Mod Sw
Mod Wave

Value

Explanation

LPF, BPF, HPF, NOTCH

Filter type. Frequency range that will pass through each filter. LPF: Frequencies below the cutoff BPF: Frequencies in the region of the cutoff HPF: Frequencies above the cutoff NOTCH: Frequencies other than the region of the cutoff

-12, -24, -36 [dB]

The slope of the filter (attenuation characteristics; amount of attenuation per octave). -12 dB: Gentle -24 dB: Steep -36 dB: Extremely steep

0­127

Cutoff frequency of the filter. Increasing this value will raise the cutoff frequency.

0­100

Filter resonance level. Increasing this value will emphasize the region near the cutoff frequency.

0­+12 [dB]

Amount of boost for the filter output

OFF, ON

On/off switch for cyclic change

How the cutoff frequency will be modulated.

TRI: Triangle wave

TRI, SQR, SIN, SAW1, SAW2

SQR: Square wave SIN: Sine wave

SAW1: Sawtooth wave (upward)

SAW2: Sawtooth wave (downward)

SAW1

SAW2

Rate Sync Rate Rate Note Depth Attack Level

OFF, ON 0.05­10.00 [Hz] Note 0­127 0­127 0­127

If this is ON, the rate synchronizes with the tempo of the rhythm.
Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth of modulation
Speed at which the cutoff frequency will change This is effective if Mod Wave is SQR, SAW1, or SAW2.
Output Level

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03 MM Filter (Multi-mode Filter)
This is a filter that is adjusted for effective use in a DJ performance.

Multi-

L in

mode

L out

Filter

Multi-

R in

mode

R out

Filter

Parameter Type Tone Color
Slope
Gain Level

Value LPF/HPF, LPF, HPF, BPF 0­255 0­255
-12, -24, -36 [dB] 0­+12 [dB] 0­127

Explanation
Filter type. LPF/HPF: The filter type is automatically switched according to the Filter Tone parameter value.
Frequency at which the filter operates
The filter’s resonance level. Higher values more strongly emphasize the region of the operating frequency. The slope of the filter (attenuation characteristics; amount of attenuation per octave). -12 dB: Gentle -24 dB: Steep -36 dB: Extremely steep
Amount of boost for the filter output
Output Level

04 Enhancer
Controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.

L in

Enhancer

Mix

R in

Enhancer

Mix

2-Band EQ
2-Band EQ

L out R out

Parameter Sens Mix Low Gain High Gain Level

Value 0­127 0­127 -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Sensitivity of the enhancer Level of the overtones generated by the enhancer Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

05 Humanizer
Adds a vowel character to the sound, making it similar to a human voice.

L in

L out

Overdrive

Formant

2-Band EQ

Pan L Pan R

R in

R out

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Parameter Drive Sw Drive Vowel1 Vowel2 Rate Sync Rate Rate Note Depth
In Sync Sw
InSyncThres

Value OFF, ON 0­127 a, e, i, o, u a, e, i, o, u OFF, ON 0.05­10.00 [Hz] Note 0­127
OFF, ON
0­127

Manual

0­100

Low Gain High Gain Pan Level

-15­+15 [dB] -15­+15 [dB] L64­63R 0­127

Explanation
Overdrive on/off The degree of distortion. Also changes the volume. Vowel 1 Vowel 2 If this is ON, the rate synchronizes with the tempo of the rhythm. Frequency at which the two vowels switch 1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2 Effect depth Turns LFO reset on/off. Determines whether the LFO for switching the vowels is reset by the input signal (ON) or not (OFF). Volume level at which reset is applied Point at which Vowel 1/2 switch 0­49: Vowel 1 will have a longer duration. 50: Vowel 1 and 2 will be of equal duration. 51­100: Vowel 2 will have a longer duration. Amount of boost/cut for the low- frequency range Amount of boost/cut for the high-frequency range Stereo location of the output sound Output Level

06 Side Band Filter
A sideband filter that only allows specific frequency components to pass through.

Side Band Filter

Gain Balance/W

L in

L out

Balance/D

R in

R out

Side Band Filter

Balance/D Gain Balance/W

Parameter

Value

Band Interval 0­100

Band Width 0­100

Balance
Type Gain Level

D100:0W­D0:100W
SBF1, SBF2, SBF3, SBF4, SBF5, SBF6 0­+18 [dB] 0­127

Explanation The band interval. Larger values produce wider band intervals, and the frequency of each band increases. The bandwidth setting. Larger values produce a narrower bandwidth, which further isolates the specific frequency components that pass through the filter. Volume balance between the sound that is sent through the sideband filter (W) and the sound that is not sent through the sideband filter (D).
The range in which the filter works.
Output gain for the sound that passes through the sideband filter Output Level
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MFX List

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07 Resonator
This effect uses “Karplus-Strong synthesis”, which is often used in physical modeling of sounds. This lets you alter the sound with a maximum of six “resonators” that match different keys or chords.

L in
Low Cut

Delay1 Pan
Feedback

Balance/D Balance/W

L out

R in

Delay6

Feedback

Pan

Balance/W Balance/D

R out

Parameter

Value

Explanation

Root

C-1­G9

Fundamental tone (root)

Bright

0­100

Brilliance

Feedback

0­99 [%]

Amount of resonator sound fed back to the input

Chord

Composite notes (chord) to resonate Root, Oct, UpDn, P5, m3, m5, m7, m7oct, m0, m11, M3, M5, M7, M7oct, M9, M11

Panning

0­100

Panning for the resonator

Env Mod Depth 0­100

Adjusts the amount of feedback according to the input level.
Larger values increase the amount of feedback according to the input level.

Balance

D100:0W­D0:100W

Volume balance between the sound that is sent through the resonator (W) and the sound that is not sent through the resonator (D).

Low Cut Frequency

The base frequency used to cut the low-band audio of the resonator input sound (FLAT: no cut). FLAT, 20, 25, 31, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800 [Hz]

Level

0­127

Output Level

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MFX List
Phaser
08 Phaser
This is a stereo phaser. A phase-shifted sound is added to the original sound and modulated.

L in R in

Phaser Mix
Phaser Mix

2-Band EQ
2-Band EQ

L out R out

Navi

Parameter Mode Manual Rate Sync Rate Rate Note Depth
Polarity
Resonance Feedback Mix Low Gain High Gain Level

Value

Explanation

4-STAGE, 8-STAGE, 12-STAGE Number of stages in the phaser

0­127

Adjusts the basic frequency from which the sound will be modulated.

OFF, ON

If this is ON, the rate synchronizes with the tempo of the rhythm.

0.05­10.00 [Hz]

Frequency of modulation

Note

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2

0­127

Depth of modulation

INVERSE, SYNCHRO

The left/right modulation phase. INVERSE: Left/right phases inverted When using a mono source, this spreads the sound. SYNCHRO: Left/right phases synchronized

Select this when inputting a stereo source.

0­127

Amount of feedback

-98­+98 [%]

Adjusts the proportion of the phaser sound that is fed back into the effect (Negative values invert the phase).

0­127

Level of the phase-shifted sound

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

-15­+15 [dB]

Amount of boost/cut for the high-frequency range

0­127

Output Level

09 Script 90
This simulates a different analog phaser than Small Phaser. It is particularly suitable for electric piano.

L in

Phaser

2-Band EQ

L out

R in

Phaser

2-Band EQ

R out

Parameter

Value

Explanation

Speed

0­100

Speed of modulation

Depth

0­127

Depth of modulation

Low Gain

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

High Gain

-15­+15 [dB]

Amount of boost/cut for the high-frequency range

Level

0­127

Output Level

63

10 Script 100
This simulates an analog phaser of the past.

L in

Phaser

L out

R in

Phaser

R out

Parameter Rate Sync Rate
Rate Note
Duty
Min Max
Manual Sw
Manual Resonance Mix Level

Value OFF, ON 0.05­10.00 [Hz] Note
-50­50
0­100 0­100
OFF, ON
0­100 0­66 0­127 0­127

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Explanation
If this is ON, the rate synchronizes with the tempo of the rhythm.
Frequency of modulation 1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2 Adjusts the speed ratio between the rising and falling modulation phase cycles. Lower limit reached by modulation
Upper limit reached by modulation Applies modulation according to the value of the Manual parameter, rather than modulating automatically. Adjusts the basic frequency from which the sound will be modulated.
Amount of feedback
Level of the phase-shifted sound
Output Level

11 Step Phaser
This is a stereo phaser. The phaser effect will be varied gradually.

L in

Step Phaser

2-Band EQ

L out

Mix

R in

Step Phaser

2-Band EQ

R out

Mix

Parameter
Mode Manual Rate Sync Rate Rate Note Depth

Value 4-STAGE, 8-STAGE, 12-STAGE 0­127 OFF, ON 0.05­10.00 [Hz] Note
0­127

Explanation
Number of stages in the phaser
Adjusts the basic frequency from which the sound will be modulated. If this is ON, the rate synchronizes with the tempo of the rhythm. Frequency of modulation 1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2 Depth of modulation

64

Parameter

Value

Polarity

INVERSE, SYNCHRO

Resonance
Feedback
S Rate Sync S.Rate
S.Rate Nt
Mix Low Gain High Gain Level

0­127
-98­+98 [%] OFF, ON 0.10­20.00 [Hz] Note
0­127 -15­+15 [dB] -15­+15 [dB] 0­127

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Explanation
The left/right modulation phase. INVERSE: Left/right phases inverted When using a mono source, this spreads the sound. SYNCHRO: Left/right phases synchronized Select this when inputting a stereo source. Amount of feedback Adjusts the proportion of the phaser sound that is fed back into the effect (Negative values invert the phase). If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate of the step-wise change in the phaser effect 1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2 Level of the phase-shifted sound
Amount of boost/cut for the low-frequency range
Amount of boost/cut for the high-frequency range
Output Level

12 M StagePhsr (Multi Stage Phaser)
Extremely high settings of the phase difference produce a deep phaser effect.

L in

L out

Multi

Stage

Phaser

Mix

2-Band EQ

Pan L Pan R

R in

R out

Parameter
Mode
Manual Rate Sync Rate
Rate Note
Depth Resonance Mix Pan Low Gain High Gain Level

Value 4-STAGE, 8-STAGE, 12-STAGE, 16-STAGE, 20-STAGE, 24-STAGE 0­127 OFF, ON 0.05­10.00 [Hz] Note
0­127 0­127 0­127 L64­63R -15­+15 [dB] -15­+15 [dB] 0­127

Explanation
Number of stages in the phaser
Adjusts the basic frequency from which the sound will be modulated. If this is ON, the rate synchronizes with the tempo of the rhythm. Frequency of modulation 1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2 Depth of modulation Amount of feedback Level of the phase-shifted sound Stereo location of the output sound Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

65

13 Inf Phaser (Infinite Phaser)
A phaser that continues raising/lowering the frequency at which the sound is modulated.

L in

L out

Infinite Phaser

2-Band EQ

Pan L Pan R

R in

R out

MFX List

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Parameter Mode
Speed
Resonance Mix Pan Low Gain High Gain Level

Value 1­4
-100­+100
0­127 0­127 L64­63R -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Higher values will produce a deeper phaser effect. The frequency at which the sound modulation rise and falls (+: upward / -: downward). Amount of feedback Level of the phase-shifted sound Stereo location of the output sound Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

Flanger

14 Flanger
This is a stereo flanger (The left/right phases of the LFO are synchronized). 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.

Balance D

L in

2-Band EQ

L out

Flanger

Balance W

Feedback Feedback

Flanger

Balance W

R in

2-Band EQ

R out

Balance D

Parameter
Type
Cutoff Pre Delay Rate Sync Rate

Value

Explanation

The filter type.

OFF, LPF, HPF

OFF: No filter is used LPF: Cuts the frequency range above the Cutoff Freq

HPF: Cuts the frequency range below the Cutoff Freq

Basic frequency of the filter

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

0.0­100 [ms]

Adjusts the delay time from the direct sound until the flanger sound is heard.

OFF, ON

If this is ON, the rate synchronizes with the tempo of the rhythm.

0.05­10.00 [Hz]

Frequency of modulation

66

Parameter
Rate Note
Depth Phase
Feedback
Low Gain High Gain Balance Level

Value
Note
0­127 0­180 [deg] -98­+98 [%] -15­+15 [dB] -15­+15 [dB] D100:0W­D0:100W 0­127

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Explanation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2 Depth of modulation Spatial spread of the sound Adjusts the proportion of the flanger sound that is fed back into the effect (Negative values invert the phase). Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Volume balance between the direct sound (D) and the flanger sound (W) Output Level

15 SBF-325 (Flanger)
This effect reproduces Roland’s SBF-325 analog flanger. It provides three types of flanging effect (which adds a metallic resonance to the original sound) and a chorus-type effect.

L in

L out

SBF-325

R in

R out

Parameter
Mode
Rate Sync Rate Rate Note Depth Manual Feedback
RMod Phase
L Phase R Phase Level

Value Types of flanging effect FL1 FL2 FL3 CHO OFF, ON 0.02­5.00 [Hz] Note 0­127 0­127 0­127
NORM, INV
NORM, INV NORM, INV 0­127

Explanation
A typical mono flanger A stereo flanger that preserves the stereo positioning of the original sound A cross-mix flanger that produces a more intense effect A chorus effect If this is ON, the rate synchronizes with the tempo of the rhythm. Modulation frequency of the flanger effect 1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2 Modulation depth of the flanger effect Center frequency at which the flanger effect is applied The intensity of the flanging effect. If Mode is CHO, this setting is ignored. The phase of the right channel modulation. Normally, you will leave this at Normal (NORM). If you specify Inverted (INV), the modulation (upward/downward movement) of the right channel is inverted. The phase of the flanging sound when mixed with the original sound. NORM: normal phase INV: inverse phase Output Level

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Chorus

16 Hexa-Chorus

Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.

Balance D

L in

L out

Hexa Chorus

Balance W Balance W

R in

R out

Balance D

Parameter Pre Delay Rate Sync Rate
Rate Note
Depth PreDly Dev Depth Dev

Value 0.0­100 [ms] OFF, ON 0.05­10.00 [Hz] Note
0­127 0­20 -20­+20

Pan Dev

0­20

Balance Level

D100:0W­D0:100W 0­127

Explanation
Adjusts the delay time from the direct sound until the chorus sound is heard. If this is ON, the rate synchronizes with the tempo of the rhythm. Frequency of modulation 1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2 Depth of modulation Adjusts the differences in Pre Delay between each chorus sound. Adjusts the difference in modulation depth between each chorus sound. The deviation in pan position for each chorus sound. 0: All chorus sounds will be in the center. 20: Each chorus sound will be spaced at 60 degree intervals relative to the center. Volume balance between the direct sound (D) and the chorus sound (W) Output Level

17 Trem Chorus (Tremolo Chorus)

This is a chorus effect with added Tremolo (cyclic modulation of volume).

Balance D

L in

L out

Tremolo Chorus

Balance W Balance W

R in

R out

Balance D

Parameter Pre Delay Cho Sync C.Rate
C.Rate Nt
Cho Depth Trm Sync T.Rate

Value 0.0­100 [ms] OFF, ON 0.05­10.00 [Hz] Note
0­127 OFF, ON 0.05­10.00 [Hz]

Explanation Adjusts the delay time from the direct sound until the chorus sound is heard. If this is ON, the rate synchronizes with the tempo of the rhythm. Modulation frequency of the chorus effect 1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2 Modulation depth of the chorus effect If this is ON, the rate synchronizes with the tempo of the rhythm. Modulation frequency of the tremolo effect

68

Parameter T.Rate Nt Trm Separate Trm Phase Balance Level

Value Note 0­127 0­180 [deg] D100:0W­D0:100W 0­127

MFX List

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Explanation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth of the tremolo effect
Spread of the tremolo effect
Volume balance between the direct sound (D) and the tremolo chorus sound (W)
Output Level

18 Space-D
This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus effect.

Balance D

L in

2-Band EQ

L out

Space D

Balance W

Space D

Balance W

R in

2-Band EQ

R out

Balance D

Parameter
Pre Delay
Rate Sync Rate
Rate Note
Depth Phase Low Gain High Gain Balance Level

Value
0.0­100 [ms] OFF, ON 0.05­10.00 [Hz] Note
0­127 0­180 [deg] -15­+15 [dB] -15­+15 [dB] D100:0W­D0:100W 0­127

Explanation Adjusts the delay time from the direct sound until the chorus sound is heard. If this is ON, the rate synchronizes with the tempo of the rhythm. Frequency of modulation 1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2 Depth of modulation Spatial spread of the sound Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Volume balance between the direct sound (D) and the chorus sound (W) Output Level

19 CE-1 (Chorus)
This models the classic BOSS CE-1 chorus effect unit. It provides a chorus sound with a distinctively analog warmth.

L in

2-Band EQ

L out

CE-1

R in

2-Band EQ

R out

Parameter Intensity Low Gain High Gain Level

Value 0­127 -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Chorus depth Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

69

20 SDD-320 (DIMENSION D)
This models Roland’s DIMENSION D (SDD-320). It provides a clear chorus sound.

L in

2-Band EQ

L out

SDD-320

R in

2-Band EQ

R out

MFX List

Parameter Mode Low Gain High Gain Level

Value 1, 2, 3, 4, 1+4, 2+4, 3+4 -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Switches the mode. Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

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Modulation

21 Auto Pan
Cyclically modulates the stereo location of the sound.

L in

Auto Pan

2-Band EQ

L out

R in

Auto Pan

2-Band EQ

R out

Parameter Mod Wave

Value

Explanation

Sets how the pan position changes.

TRI: Triangle wave

TRI, SQR, SIN, SAW1, SAW2, SQR: Square wave

TRP

SIN: Sine wave

SAW1/2: Sawtooth wave

TRP: Trapezoidal wave

SAW1 R

SAW2 R

Rate Sync Rate
Rate Note
Depth Low Gain High Gain Level

L

L

OFF, ON

0.05­10.00 [Hz]

Note

0­127 -15­+15 [dB] -15­+15 [dB] 0­127

If this is ON, the rate synchronizes with the tempo of the rhythm. Frequency of the change 1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2 Depth to which the effect is applied Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

70

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22 Slicer
By applying successive cuts to the sound, this effect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially effective when applied to sustain-type sounds.

L in

Slicer

L out

R in

Slicer

R out

Parameter Step 1­16 Rate Sync Rate
Rate Note
Attack
In Sync Sw
InSyncThres

Value 0­127 OFF, ON 0.05­10.00 [Hz] Note
0­127
OFF, ON
0­127

Mode

LEGATO, SLASH

Shuffle Level

0­127 0­127

Explanation
Level at each step
If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate at which the 16-step sequence will cycle
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Sets the speed at which the sound level changes between steps.
Sets whether to restart the step sequence from the beginning according to the presence of input sound (ON) or not (OFF).
Sets the volume at which an input sound is detected.
Sets how the volume changes when the slicer goes to the next step. LEGATO: The change in volume from one step’s level to the next remains unaltered. If the level of a following step is the same as the one preceding it, there is no change in volume. SLASH: The level is momentarily set to 0 before progressing to the level of the next step. This change in volume occurs even if the level of the following step is the same as the preceding step.
Sets the timing at which the volume changes to that of the evennumbered steps (step 2, step 4, step 6…). The higher the value, the later the timing progresses.
Sets the output volume.

23 VK Rotary
This type provides modified response for the rotary speaker, with the low end boosted further. This effect features the same specifications as the VK-7’s built-in rotary speaker.

L in

2-Band EQ

L out

Rotary

R in

2-Band EQ

R out

Parameter Speed

Value SLOW, FAST

Brake

OFF, ON

Explanation
The speaker rotation (cycle). SLOW: Slow FAST: Fast Turns the speaker rotation on/off. When this is turned on, the rotation will gradually stop. When it is turned off, the rotation will gradually resume.

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Parameter Wf Slow Wf Fast
Wf Trs Up
Wf Trs Dw
Wf Level Tw Slow Tw Fast Tw Trs Up Tw Trs Dw Tw Level
Spread
Low Gain High Gain Level OD Switch
OD Gain
OD Drive OD Level

Value 0.05­10.00 [Hz] 0.05­10.00 [Hz] 0­127
0­127
0­127 0.05­10.00 [Hz] 0.05­10.00 [Hz] 0­127 0­127 0­127
0­10
-15­+15 [dB] -15­+15 [dB] 0­127 OFF, ON
0­127
0­127 0­127

MFX List

Navi

Explanation
Low-speed rotation speed of the woofer
High-speed rotation speed of the woofer
Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Slow to Fast. Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Fast to Slow.
Volume of the woofer

The tweeter setting. The parameters are the same as for the woofer.

Sets the rotary speaker stereo image. The higher the value set, the wider the sound is spread out. Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level Overdrive on/off The overdrive input level. Higher values will increase the distortion. Degree of distortion Volume of the overdrive

24 Scatter
This effect swaps the sound played back by a loop in steps, altering its playback direction and gate length. This produces a digital groove feel to the loop playback.

Scatter Scatter Sw Balance/W
L in
Balance/D

L out

R in

Scatter

Balance/D Scatter Sw Balance/W

R out

Parameter Type
Depth
Scatter Switch Speed

Value
1­10 10, 20, 30, 40, 50, 60, 70, 80, 90, 100 OFF, ON SINGLE, DOUBLE

Balance

D100:0W­D0:100W

Level

0­127

Explanation Scatter type
Scatter depth
Scatter effect on/off Scatter speed Volume balance between the sound that is sent through the scatter (W) and the sound that is not sent through the scatter (D). Output Level

72

MFX List

Navi

25 To-Gu-Ro
This gives the sound an undulating effect, based on the image of a coiled-up snake.

L in

To-GuRo

L out

R in

To-GuRo

R out

Parameter Depth Rate Sync Rate
Rate Note

Value 0­100 OFF, ON 0.05­10.00 [Hz] Note

Resonance
Filter Mod Depth Amp Mod Depth
Hold Switch
Level

0­100
0­100 0­100 OFF, ON 0­127

Explanation Degree to which the playback speed should be slowed down If this is ON, the rate synchronizes with the tempo of the rhythm. Frequency of the change 1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2 The filter’s resonance level. Increasing the value further emphasizes the effect, for a more unusual sound. Amount of high-range frequency attenuation according to the playback speed
Amount of attenuation according to the playback speed
Play/stop. When this is ON, the playback speed is near zero. Output Level

26 Downer
Cyclically slows down the playback speed of the sound.

L in

Downer

L out

R in

Downer

R out

Parameter Depth Rate Sync Rate Rate Note
Filter

Value 0­100 OFF, ON 0.05­10.00 [Hz] Note
0­100

Pitch Switch OFF, ON

Resonance Level

0­100 0­127

Explanation Degree to which the playback speed should be slowed down If this is ON, the rate synchronizes with the tempo of the rhythm. Frequency of the change 1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2 The degree of attenuation of the filter’s high-frequency range. Larger values increase the high- frequency range attenuation. Corrects the sound for changes in pitch. When this is turned ON, pitches that were lowered due to the change in speed are converted to their original pitch. The filter’s resonance level. Increasing the value further emphasizes the effect, for a more unusual sound. Output Level
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Drive / Amp

MFX List

27 Overdrive
This is an overdrive that provides heavy distortion.

L in

Overdrive

Amp Simulator

2-Band EQ

R in

L out
Pan L
Pan R
R out

Parameter Drive Tone Amp Switch
AmpType
Low Gain High Gain Pan Level

Value

Explanation

0­127

The degree of distortion. Also changes the volume.

0­127

Sound quality of the Overdrive effect

OFF, ON

Turns the Amp Simulator on/off.

The guitar amp type.

SMALL: Small amp

SMALL, BUILT-IN, 2-STACK, 3-STACK

BUILT-IN: Single-unit type amp

2-STACK: Large double stack-type amp

3-STACK: Large triple stack-type amp

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

-15­+15 [dB]

Amount of boost/cut for the high-frequency range

L64­63R

Stereo location of the output sound

0­127

Output Level

28 Distortion
Produces a more intense distortion than Overdrive.

L in

Distortion

Amp Simulator

2-Band EQ

R in

L out
Pan L
Pan R
R out

Parameter Drive Tone Amp Switch
AmpType
Low Gain High Gain Pan Level

Value

Explanation

0­127

The degree of distortion. Also changes the volume.

0­127

Sound quality of the Overdrive effect

OFF, ON

Turns the Amp Simulator on/off.

The guitar amp type.

SMALL: Small amp

SMALL, BUILT-IN, 2-STACK, 3-STACK

BUILT-IN: Single-unit type amp

2-STACK: Large double stack-type amp

3-STACK: Large triple stack-type amp

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

-15­+15 [dB]

Amount of boost/cut for the high-frequency range

L64­63R

Stereo location of the output sound

0­127

Output Level

Navi
74

MFX List

29 Fuzz
Adds overtones and intensely distorts the sound.

L in

Pre Filter

Overdrive

Post Filter

Tone Control

R in

Pre Filter

Overdrive

Post Filter

Tone Control

L out R out

Parameter
Drive Tone Level

Value
0­127 0­100 0­127

Explanation Adjusts the depth of distortion. This also changes the volume. Sound quality of the Overdrive effect Output Level

30 Fattener
This effect applies distinctive distortion, adding overtones to give more depth to the sound.

L in
Odd Overtone Generator
Even Overtone Generator
Even Overtone Generator
Odd Overtone Generator
R in

L out R in

Parameter Odd Level Even Level Level

Value 0­400 [%] 0­400 [%] 0­127

Explanation Raising the value adds odd-order overtones. Raising the value adds even-order overtones. Output Level

Navi

75

MFX List

Navi

31 Saturator
This effect combines overdrive and filter.

Balance D

L in

Pre Filter

Overdrive

Post Filter1-3

L out

Balance W

R in

Pre Filter

Overdrive

Post Filter1-3

R out

Balance D

Parameter
Pre Type
Pre Freq Pre Gain Drive Post1 Type Post1Frq Post1Gain Post2 Type Post2Frq Post2Gain
Post3 Type
Post3Frq Post3Gain Post3 Q Sense PostGain Balance Level

Value
THRU, LPF, HPF, LSV, HSV
20­16000 [Hz] -24.0­+24.0 [dB] 0.0­48.0 [dB] THRU, LPF, HPF, LSV, HSV 20­16000 [Hz] -24.0­+24.0 [dB] THRU, LPF, HPF, LSV, HSV 20­16000 [Hz] -24.0­+24.0 [dB] THRU, LPF, HPF, BPF, PKG
20­16000 [Hz] -24.0­+24.0 [dB] 0.5­16.0 -60.0­0.0 [dB] -48.0­+12.0 [dB] D100:0W­D0:100W 0­127

Explanation The types of filters available before distortion processing. THRU: No filter is applied LPF: A filter that passes the sound below the specified frequency HPF:A filter that passes the sound above the specified frequency LSV: A filter that boosts/cuts the sound below the specified frequency HSV:A filter that boosts/cuts the sound above the specified frequency Frequency at which the pre-distortion filter operates For the LSV/HSV types, the amount of boost/cut Strength of distortion Type of filter 1 which follows the distortion processing Frequency at which post-distortion filter 1 operates For the LSV/HSV types, the amount of boost/cut Type of filter 2 which follows the distortion processing Frequency at which post-distortion filter 2 operates For the LSV/HSV types, the amount of boost/cut The filter types available for filter 3 after distortion processing. THRU: No filter is applied LPF: A filter that passes the sound below the specified frequency HPF: A filter that passes the sound above the specified frequency BPF: A filter that passes only the specified frequency PKG: A filter that boosts/cuts the specified frequency Frequency at which post-distortion filter 3 operates For the PKG type, the amount of boost/cut Width of the frequency range affected by the filter Adjust this value so that the sound is not made louder when distortion is applied. Gain following distortion processing Volume balance between the dry sound (D) and effect sound (W) Output Level

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32 W Saturator (Worm Saturator)
This is a variety of saturator, and is distinctive for its warmer sound.
Balance D

L in

Low/ High

R in

Low/ High

Pre Filter
Pre Filter

Overdrive Overdrive

Post Filter1-3
Balance W
Post Filter1-3

L out R out

Balance D

MFX List

Navi

Parameter LowFreq LowGain
Hi Slope
Hi Freq
Pre1 Type
Pre1Freq Pre1Gain Drive Post1 Type Post1Frq Post1Gain Post2 Type Post2Frq Post2Gain
Post3 Type
Post3Frq Post3Gain Post3 Q

Value 20­16000 [Hz] -24.0­+24.0 [dB] THRU, -12dB, -24dB
20­16000 [Hz] THRU, LPF, HPF, LSV, HSV
20­16000 [Hz] -24.0­+24.0 [dB] 0.0­48.0 [dB] THRU, LPF, HPF, LSV, HSV 20­16000 [Hz] -24.0­+24.0 [dB] THRU, LPF, HPF, LSV, HSV 20­16000 [Hz] -24.0­+24.0 [dB] THRU, LPF, HPF, BPF, PKG
20­16000 [Hz] -24.0­+24.0 [dB] 0.5­16.0

Explanation An input filter (low-band audio). Boosts/cuts the sound below the specified frequency. An input filter (low-band audio). This is the boost/cut amount. The input filter (high frequency) slope (attenuation characteristics or amount of attenuation per octave). THRU: No attenuation -12 dB: Gentle -24 dB: Steep An input filter (high-frequency audio). Boosts/cuts the sound above the specified frequency. The types of filters available before distortion processing. THRU: No filter is applied LPF: A filter that passes the sound below the specified frequency HPF: A filter that passes the sound above the specified frequency LSV: A filter that boosts/cuts the sound below the specified frequency HSV: A filter that boosts/cuts the sound above the specified frequency Frequency at which the pre-distortion filter operates For the LSV/HSV types, the amount of boost/cut Strength of distortion Type of filter 1 which follows the distortion processing Frequency at which post- distortion filter 1 operates For the LSV/HSV types, the amount of boost/cut Type of filter 2 which follows the distortion processing Frequency at which post-distortion filter 2 operates For the LSV/HSV types, the amount of boost/cut The filter types available for filter 3 after distortion processing. THRU: No filter is applied LPF: A filter that passes the sound below the specified frequency HPF: A filter that passes the sound above the specified frequency BPF: A filter that passes only the specified frequency PKG: A filter that boosts/cuts the specified frequency Frequency at which post-distortion filter 3 operates For the PKG type, the amount of boost/cut Width of the frequency range affected by the filter

77

Parameter
Sense
PostGain Balance Level

Value
-60.0­0.0 [dB] -48.0­+12.0 [dB] D100:0W­D0:100W 0­127

MFX List

Navi

Explanation Adjust this value so that the sound is not made louder when distortion is applied. Gain following distortion processing Volume balance between the dry sound (D) and effect sound (W) Output Level

33 Gt Amp Sim (Guitar Amp Simulator)
This is an effect that simulates the sound of a guitar amplifier.

L in

L out

Pan L

Pre Amp

Speaker

Pan R

R in

R out

Parameter Pre Amp Sw
ATyp
Drive Master Gain Bass Middle Treble Presence Bright

Value OFF, ON JC-120 CLEAN TWIN
MATCH DRIVE
BG LEAD
MS1959I
MS1959II
MS1959I+II
SLDN LEAD METAL 5150 METAL LEAD OD-1 OD-2 TURBO DISTORTION FUZZ 0­127 0­127 LOW, MIDDLE, HIGH 0­127 0­127 0­127 0­127
OFF, ON

Explanation Turns the amp switch on/off. This models the sound of the Roland JC-120. This models a Fender Twin Reverb. This models the sound input to left input on a Matchless D/C-30. A simulation of the latest tube amp widely used in styles from blues and rock. This models the lead sound of the MESA/ Boogie combo amp. The sound of a tube amp typical of the late ’70s to ’80s. This models the sound input to Input I on a Marshall 1959. This is a trebly sound suited to hard rock. This models the sound input to Input II on a Marshall 1959. A model of the Marshall 1959 sound, with inputs I and II connected in parallel. Offers a sound with a more emphasized low-end than MS1959I. This models a Soldano SLO-100. This is the typical sound of the eighties. This models the lead channel of a Peavey EVH 5150. This is distortion sound that is ideal for performances of heavy riffs. This models the sound of the BOSS OD-1. This produces sweet, mild distortion. This is the high-gain overdrive sound of the BOSS OD-2. This gives a basic, traditional distortion sound. A fuzz sound with rich harmonic content. Volume and amount of distortion of the amp Volume of the entire pre-amp
Amount of pre-amp distortion
Tone of the bass/mid/treble frequency range
Tone for the ultra-high frequency range Turning this “On” produces a sharper and brighter sound. This is enabled only when the preamp type is “JC-120”, “CLEAN TWIN”, “MATCH DRIVE”or “BG LEAD”.

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MFX List

Navi

Parameter Speaker Sw
STyp
Mic Setting Mic Level Direct Level Pan Level

Value OFF, ON
SMALL 1 SMALL 2 MIDDLE JC-120 BUILT-IN 1 BUILT-IN 2 BUILT-IN 3 BUILT-IN 4 BUILT-IN 5 BG STACK 1 BG STACK 2 MS STACK 1 MS STACK 2 METAL STACK 2-STACK 3-STACK
1­3
0­127 0­127 L64­63R 0­127

Explanation

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

Cabinet
small open-back enclosure small open-back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure

Speaker diameter (in inches) and number of speakers 10 10 12 x 1 12 x 2 12 x 2 12 x 2 12 x 2 12 x 2

Mic
dynamic dynamic dynamic dynamic dynamic condenser condenser condenser

open back enclosure sealed enclosure

12 x 2 12 x 2

condenser condenser

large sealed enclosure large sealed enclosure

12 x 2 12 x 4

condenser condenser

large sealed enclosure

12 x 4

condenser

large double stack

12 x 4

condenser

large double stack

12 x 4

condenser

large triple stack

12 x 4

condenser

The position of the mic that picks up the speaker sound.

This can be adjusted in three steps, with the microphone becoming more distant in the order of 1, 2, and 3.

Volume of the microphone

Volume of the direct sound

Stereo location of the output sound

Output Level

34 EP Amp Sim (RD EP Amp Simulator)
This is an effect that was developed for the RD series SuperNATURAL E.Piano.

L in

Bass/ Treble

Overdrive Speaker

Tremolo

L out

R in

R out

Parameter Bass Treble Tremolo Sw
Type
Speed Sync Speed

Value -50­+50 -50­+50 OFF, ON OLDCASE MO OLDCASE ST NEWCASE DYNO WURLY OFF, ON 0.05­10.00 [Hz]

Explanation Amount of low-frequency boost/cut Amount of high-frequency boost/cut Tremolo on/off A standard electric piano sound of the early 70s (mono) A standard electric piano sound of the early 70s (stereo) A standard electric piano sound of the late 70s and early 80s A classic modified electric piano A classic electric piano of the ’60s If this is ON, the rate synchronizes with the tempo of the rhythm. Rate of the tremolo effect
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Parameter Speed Nt Depth Shape AMP Speaker
Drive Level

MFX List

Navi

Value
Note
0­127 0­20 OFF, ON LINE, OLD, NEW, WURLY, TWIN
0­127
0­127

Explanation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2 Depth of the tremolo effect
Adjusts the waveform of the tremolo.
Turns the speaker and distortion on/off Type of speaker. If LINE is selected, the sound will not be sent through the speaker simulation. Degree of distortion Also changes the volume. Output Level

35 Speaker Sim (Speaker Simulator)
Simulates the speaker type and mic settings used to record the speaker sound.

L in

Speaker

L out

R in

Speaker

R out

Parameter
Type
Mic Setting Mic Level Direct Lv Level

Value
SMALL 1 SMALL 2 MIDDLE JC-120 BUILT-IN 1 BUILT-IN 2 BUILT-IN 3 BUILT-IN 4 BUILT-IN 5 BG STACK 1 BG STACK 2 MS STACK 1 MS STACK 2 METAL STACK 2-STACK 3-STACK
1­3
0­127 0­127 0­127

Explanation

Cabinet

Speaker diameter (in inches) and number of speakers

Mic

small open-back enclosure

10

dynamic

small open-back enclosure

10

dynamic

open back enclosure

12 x 1

dynamic

open back enclosure

12 x 2

dynamic

open back enclosure

12 x 2

dynamic

open back enclosure

12 x 2

condenser

open back enclosure

12 x 2

condenser

open back enclosure

12 x 2

condenser

open back enclosure

12 x 2

condenser

sealed enclosure

12 x 2

condenser

large sealed enclosure

12 x 2

condenser

large sealed enclosure

12 x 4

condenser

large sealed enclosure

12 x 4

condenser

large double stack

12 x 4

condenser

large double stack

12 x 4

condenser

large triple stack

12 x 4

condenser

The position of the mic that picks up the speaker sound.

This can be adjusted in three steps, with the microphone becoming more distant in the order of 1, 2, and 3.

Volume of the microphone

Volume of the direct sound

Output Level

80

Comp / Limiter

MFX List

Navi

36 Compressor
Flattens out high levels and boosts low levels, smoothing out fluctuations in volume.

L in

Compressor

2-Band EQ

L out

R in

Compressor

2-Band EQ

R out

Parameter Attack Release Threshold
Knee
Ratio Post Gain Level

Value 0­124 0­124 -60­0 [dB] 0­30 [dB] 1:1, 1.5:1, 2:1, 4:1, 16:1, INF:1 0­+18 [dB] 0­127

Explanation Sets the speed at which compression starts Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied. Adjusts the volume at which compression begins This smooths out the sonic transition, from when the compression is not engaged until when the compression begins. This gradually applies compression from just before the Threshold point. Higher values produce a smoother transition.
Compression ratio
Level of the output sound Output Level

37 Limiter
Compresses signals that exceed a specified volume level, preventing distortion from occurring.

L in

Limiter

2-Band EQ

L out

R in

Limiter

2-Band EQ

R out

Parameter
Release
Threshold Ratio Post Gain Low Gain High Gain Level

Value
0­127
0­127 1.5:1, 2:1, 4:1, 100:1 0­+18 [dB] -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied. Adjusts the volume at which compression begins Compression ratio Level of the output sound Amount of boost/cut for the low-frequency range Amount of boost/cut for the high- frequency range Output Level

81

MFX List

Navi

38 Sustainer
By compressing loud input and boosting low input, this effect keeps the volume consistent to produce a sustain effect without distortion.

L in

Sustainer

2-Band EQ

L out

R in

Sustainer

2-Band EQ

R out

Parameter
Sustain
Attack Release Post Gain Low Gain High Gain Level

Value
0­127
0­127 0­127 -15­+15 [dB] -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Adjusts the range in which a low input signal is boosted to a consistent volume. Higher values produce longer sustain. Time until the volume is compressed Time until compression is removed Level of the output sound Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

39 Transient
This effect lets you control the way in which the sound attacks and decays.

L in

L out

Envelope Controller

R in

R out

Parameter Attack
Release Out Gain Sens Level

Value -50­+50
-50­+50 -24­+12 [dB] LOW, MID, HIGH 0­127

Explanation
Character of the attack. Higher values make the attack more aggressive; lower values make the attack milder. Character of the decay. Higher values make the sound linger; lower values make the sound cutoff quickly.
Output gain
Quickness with which the attack is detected
Output Level

82

MFX List

Navi

Delay

40 Delay
This is a stereo delay.
When Feedback Mode is NORMAL:

Balance D

L in

2-Band EQ

Delay

Balance W

Feedback Feedback

Delay

Balance W

R in

2-Band EQ

Balance D

L out R out

When Feedback Mode is CROSS:

Balance D

L in

2-Band EQ

Delay

Balance W

Feedback Feedback

Delay

Balance W

R in

2-Band EQ

Balance D

L out R out

Parameter Dly L Sync DL.Time DLTime Nt Dly R Sync DR.Time DRTime Nt Phase L Phase R
Fbk Mode
Feedback
HF Damp
Low Gain High Gain Balance Level

Value

Explanation

OFF, ON

If this is ON, the rate synchronizes with the tempo of the rhythm.

1­1300

Adjusts the time until the left delay sound is heard.

Note

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2

OFF, ON

If this is ON, the rate synchronizes with the tempo of the rhythm.

1­1300

Adjusts the time until the right delay sound is heard.

Note

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2

NORMAL, INVERSE

Phase of the left-right delay sound.

NORMAL, INVERSE

NORMAL: Non-inverted INVERSE: Inverted

NORMAL, CROSS

Selects the way in which delay sound is fed back into the effect (See the figures above).

-98­+98 [%]

Adjusts the proportion of the delay sound that is fed back into the effect (Negative values invert the phase).

Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS.

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

-15­+15 [dB]

Amount of boost/cut for the high-frequency range

D100:0W­D0:100W

Volume balance between the direct sound (D) and the delay sound (W)

0­127

Output Level

83

MFX List

Navi

41 Mod Delay (Modulation Delay)
Adds modulation to the delayed sound.

When Feedback Mode is NORMAL:

Balance D
L in

Delay

Modulation

2-Band EQ
Balance W

L out

Feedback Feedback

Delay

Modulation Balance W

R in

2-Band EQ

R out

Balance D

When Feedback Mode is CROSS:

Balance D
L in

Delay

Modulation

Feedback Feedback

Delay

Modulation

R in
Balance D

2-Band EQ
Balance W

L out

Balance W
2-Band EQ

R out

Parameter Dly L Sync DL.Time DLTime Nt Dly R Sync DR.Time DRTime Nt
Fbk Mode
Feedback
HF Damp
Rate Sync Rate Rate Note Depth Phase Low Gain High Gain Balance Level

Value

Explanation

OFF, ON

If this is ON, the rate synchronizes with the tempo of the rhythm.

1­1300

Adjusts the time until the left delay sound is heard.

Note

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2

OFF, ON

If this is ON, the rate synchronizes with the tempo of the rhythm.

1­1300

Adjusts the time until the right delay sound is heard.

Note

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2

NORMAL, CROSS

Selects the way in which delay sound is fed back into the effect (See the figures above).

-98­+98 [%]

Adjusts the proportion of the delay sound that is fed back into the effect (Negative values invert the phase).

Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS.

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

OFF, ON

If this is ON, the rate synchronizes with the tempo of the rhythm.

0.05­10.00 [Hz]

Frequency of modulation

Note

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2

0­127

Depth of modulation

0­180 [deg]

Spatial spread of the sound

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

-15­+15 [dB]

Amount of boost/cut for the high-frequency range

D100:0W­D0:100W

Volume balance between the direct sound (D) and the delay sound (W)

0­127

Output Level

84

MFX List

Navi

42 2Tap PanDly (2 Tap Pan Delay)

The delay sound is heard both at the left and at the right.

Balance D

L in

L out

Delay 1

Balance W

Double Tap Delay

R in

Feedback

Delay 2

Balance D

Balance W
R out

Parameter Delay Sync Time (ms) D.Time (Nt)
Delay Fbk
Dly HF
Dly1 Pan Dly2 Pan Dly1 Lv Dly2 Lv Low Gain High Gain Balance Level

Value

Explanation

OFF, ON

If this is ON, the delay synchronizes with the tempo.

1­2600

Adjusts the time until the second delay sound is heard.

Note

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2

-98­+98 [%]

Adjusts the proportion of the delay sound that is fed back into the effect (Negative values invert the phase).

Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS.

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

L64­63R

Adjusts the stereo location of delay 1.

L64­63R

Adjusts the stereo location of delay 2.

0­127

Adjusts the volume of delay 1.

0­127

Adjusts the volume of delay 2.

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

-15­+15 [dB]

Amount of boost/cut for the high-frequency range

D100:0W­D0:100W

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

0­127

Output Level

43 3Tap PanDly (3 Tap Pan Delay)
Produces three delay sounds; center, left and right.

Balance D

L in

2-Band EQ

Left Tap

Balance W

Triple Tap Delay

Center Tap

R in

Feedback

Right Tap Balance D

Balance W
2-Band EQ

L out R out

Parameter Dly L Sync DL.Time

Value OFF, ON 1­2600

Explanation If this is ON, the rate synchronizes with the tempo of the rhythm. Adjusts the time until the left delay sound is heard.
85

Parameter DLTime Nt Dly R Sync DR.Time DRTime Nt Dly C Sync DC.Time DCTime Nt
C Feedback
HF Damp
Left Lv Right Lv Center Lv Low Gain High Gain Balance Level

MFX List

Navi

Value

Explanation

Note

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2

OFF, ON

If this is ON, the rate synchronizes with the tempo of the rhythm.

1­2600

Adjusts the time until the right delay sound is heard.

Note

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2

OFF, ON

If this is ON, the rate synchronizes with the tempo of the rhythm.

1­2600

Adjusts the time until the center delay sound is heard.

Note

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2

-98­+98 [%]

Adjusts the proportion of the delay sound that is fed back into the effect (Negative values invert the phase).

Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS.

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

0­127

0­127

Volume of each delay sound

0­127

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

-15­+15 [dB]

Amount of boost/cut for the high-frequency range

D100:0W­D0:100W

Volume balance between the direct sound (D) and the delay sound (W)

0­127

Output Level

44 Reverse Dly (Reverse Delay)
This is a reverse delay that adds a reversed and delayed sound to the input sound. A tap delay is connected immediately after the reverse delay.

L in

2-Band EQ

L out

Rev. Delay
Feedback

Rev D1
Delay

D3

D2

R in

2-Band EQ

R out

Parameter Threshold RDly Sync RD.Time
RD.Time Nt
RDly Fbk

Value 0­127 OFF, ON 1­1300
Note
-98­+98 [%]

Explanation
Volume at which the reverse delay will begin to be applied
If this is ON, the rate synchronizes with the tempo of the rhythm.
Delay time from when sound is input into the reverse delay until the delay sound is heard
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Proportion of the delay sound that is to be returned to the input of the reverse delay negative (-) values invert the phase)

86

Parameter
RDly HF
RDly Pan RDly Level Dly1 Sync D1.Time
D1Time Nt Dly2 Sync D2.Time
D2Time Nt Dly3 Sync D3.Time
D3Time Nt
Dly3 Fbk
Dly HF
Dly1 Pan Dly2 Pan Dly1 Lv Dly2 Lv Low Gain High Gain Balance Level

MFX List

Navi

Value

Explanation

Frequency at which the high-frequency content of the reverse-delayed sound will be cut (BYPASS: no cut)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

L64­63R

Panning of the reverse delay sound

0­127

Volume of the reverse delay sound

OFF, ON

If this is ON, the rate synchronizes with the tempo of the rhythm.

1­1300

Delay time from when sound is input into the tap delay until the delay sound is heard

Note

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2

OFF, ON

If this is ON, the rate synchronizes with the tempo of the rhythm.

1­1300

Delay time from when sound is input into the tap delay until the delay sound is heard

Note

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2

OFF, ON

If this is ON, the rate synchronizes with the tempo of the rhythm.

1­1300

Delay time from when sound is input into the tap delay until the delay sound is heard

Note

1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2

-98­+98 [%]

Proportion of the delay sound that is to be returned to the input of the tap delay (Negative values invert the phase).

Frequency at which the hi-frequency content of the tap delay sound will be cut (BYPASS: no cut)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

L64­63R L64­63R

Panning of the tap delay sounds

0­127 0­127

Volume of the tap delay sounds

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

-15­+15 [dB]

Amount of boost/cut for the high-frequency range

D100:0W­D0:100W

Volume balance between the direct sound (D) and the delay sound (W)

0­127

Output Level

87

MFX List

Navi

45 Tape Echo
A virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section of a Roland RE-201 Space Echo.

Direct Level

L in

L out

Tape Echo

Echo Level Echo Level

R in

R out

Direct Level

Parameter
Mode
Repeat Rate Intensity Bass Treble Head S Pan Head M Pan Head L Pan
Distortion
Wf Rate Wf Depth Echo Level Direct Lv Level

Value
S, M, L, S+M, S+L, M+L, S+M+L
0­127 0­127 -15­+15 [dB] -15­+15 [dB] L64­63R L64­63R L64­63R
0­5
0­127 0­127 0­127 0­127 0­127

Explanation Combination of playback heads to use. Select from three different heads with different delay times. S: short M: middle L: long Tape speed. Increasing this value will shorten the spacing of the delayed sounds. Amount of delay repeats Boost/cut for the lower range of the echo sound Boost/cut for the upper range of the echo sound
Independent panning for the short, middle, and long playback heads
Amount of tape-dependent distortion to be added. This simulates the slight tonal changes that can be detected by signalanalysis equipment. Increasing this value will increase the distortion. Speed of wow/flutter (complex variation in pitch caused by tape wear and rotational irregularity) Depth of wow/flutter Volume of the echo sound Volume of the original sound Output Level

88

Looper

MFX List

Navi

46 DJFX Looper
Loops a short portion of the input sound. You can vary the playback direction and playback speed of the input sound to add turntabletype effects.

SSppeeeedd

L in

DDeelaayy

CCoonntrrooll

L out

R in

DDeelaayy

SSppeeeedd

R out

CCoonnttrrooll

Parameter Length Speed
Loop Sw Level

Value 230­12 (not straight) -1.00­+1.00
OFF, ON 0­127

Explanation
Length of the loop
Playback direction and playback speed. – direction: Reverse playback + direction: Normal playback 0: Stop playback As the value moves away from 0, the playback speed becomes faster.
If you turn this on while the sound is heard, the sound at that point will be looped. Turn this off to cancel the loop. If the effect is recalled with this ON, this parameter must be turned OFF and then turned ON again in order to make the loop operate.
Output Level

47 BPM Looper
Loops a short portion of the input sound. This can automatically turn the loop on/off in synchronization with the rhythm.

L in

Delay

L out

Loop Sw Control

R in

Delay

R out

Parameter Length Rate Sync Rate Rate Note
Timing
Lenth

Value 230­12 (not straight) OFF, ON 0.05­10.00 [Hz] Note
1­8
1­8

Explanation
Specifies the length of the loop.
If this is ON, the rate synchronizes with the tempo of the rhythm.
Cycle at which the loop automatically turns on/off
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2 Specifies the timing within the cycle at which the loop automatically starts (which step of the eight timing divisions at which the sound is heard) Specifies the length at which the loop automatically ends within the cycle (the number of times that the 1/8-length of sound is heard)

89

Parameter

Value

Loop Mode OFF, AUTO, ON

Level

0­127

MFX List

Navi

Explanation
If this is AUTO, the loop automatically turns on/off in synchronization with the rhythm. If the effect is recalled with this ON, this parameter must first be set to something other than ON in order to make the loop operate.
Output Level

Lo-fi

48 LOFI Comp (Lo-Fi Compressor)
Degrades the sound quality.

L in

Compressor

Lo-Fi

2-Band EQ

L out

R in

Compressor

Lo-Fi

2-Band EQ

R out

Parameter

Value

Pre Filter

1­6

LoFi Type

1­9

Post Filter

OFF, LPF, HPF

Cutoff Low Gain High Gain Balance Level

200­8000 [Hz] -15­+15 [dB] -15­+15 [dB] D100:0W­D0:100W 0­127

Explanation
Selects the type of filter applied to the sound before it passes through the Lo-Fi effect. 1: Compressor off 2­6: Compressor on Degrades the sound quality. The sound quality grows poorer as this value is increased. Selects the type of filter applied to the sound after it passes through the Lo-Fi effect. OFF: No filter is used LPF: Cuts the frequency range above the Cutoff Freq HPF: Cuts the frequency range below the Cutoff Freq
Basic frequency of the Post Filter
Amount of boost/cut for the low-frequency range
Amount of boost/cut for the high-frequency range
Volume balance between the direct sound (D) and the effect sound (W)
Output Level

90

49 Bit Crusher
Produces an extreme lo-fi effect.

L in

Bit Crusher

2-Band EQ

R in

Bit Crusher

2-Band EQ

Parameter Sample Rate Bit Down Filter Low Gain High Gain Level

Value 0­127 0­20 0­127 -15­+15 [dB] -15­+15 [dB] 0­127

MFX List
L out
R out
Explanation Adjusts the sample rate. Adjusts the bit depth. Adjusts the filter depth. Amount of boost/cut for the low-frequency range Amount o

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