Owner???s Manual
Thank you, and congratulations on your choice of the Roland
201a
Before using this unit, carefully read the sections entitled: ???USING THE UNIT SAFELY??? (p.
202
Copyright ?? 2008 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.
Roland Website http://www.roland.com/
USING THE UNIT SAFELY
Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.
Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.
* Material damage refers to damage or other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.
The
symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.
The 
symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.
The ??? symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the power- cord plug must be unplugged from the outlet.
002c
??? Do not open (or modify in any way) the unit or its AC adaptor.
...........................................................................................................
003
???Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland
distributor, as listed on the ???Information??? page.
...........................................................................................................
004
??? Never install the unit in any of the following locations.
??? Subject to temperature extremes (e.g., direct sunlight in an enclosed vehicle, near a heating duct, on top of
???Damp (e.g., baths, washrooms, on wet floors); or are
???Exposed to steam or smoke; or are
???Subject to salt exposure; or are
???Humid; or are
???Exposed to rain; or are
???Dusty or sandy; or are
???Subject to high levels of vibration and shakiness.
...........................................................................................................
005
???This unit should be used only with a
recommended by Roland. (p. 93)
...........................................................................................................
006
???When using the unit with a stand
not using a stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.
...........................................................................................................
008c
???Be sure to use only the AC adaptor supplied with the unit. Also, make sure the line voltage at the installation matches the input voltage specified on the AC adaptor???s body. Other AC adaptors may use a different polarity, or be designed for a
different voltage, so their use could result in damage, malfunction, or electric shock.
..........................................................................................................
008d
???Connect only the specified device
power).
..........................................................................................................
008e
???Use only the attached
any other device.
..........................................................................................................
009
???Do not excessively twist or bend the power cord, nor place heavy objects on it. Doing so can damage the cord, producing severed elements
and short circuits. Damaged cords are fire and shock hazards!
..........................................................................................................
010
???This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should
immediately stop using the unit, and consult an audiologist.
..........................................................................................................
011
???Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.
..........................................................................................................
2
012b
???Immediately turn the power off, remove the AC adaptor from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the ???Information??? page when:
???The AC adaptor, the
???If smoke or unusual odor occurs
???Objects have fallen into, or liquid has been spilled onto the unit; or
???The unit has been exposed to rain (or otherwise has become wet); or
???The unit does not appear to operate normally or exhibits a marked change in performance.
..........................................................................................................
013
???In households with small children, an adult should provide supervision until the child is
capable of following all the rules essential for the safe operation of the unit.
..........................................................................................................
014
???Protect the unit from strong impact. (Do not drop it!)
..........................................................................................................
015
???Do not force the unit???s
cord???s outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.
..........................................................................................................
016
??? Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the ???Information??? page.
..........................................................................................................
023
???DO NOT play a
level that could cause permanent hearing loss. Damage to speakers or other system components may result.
..........................................................................................................
101b
???The unit and the AC adaptor should be located so their location or position does not interfere with their proper ventilation.
..........................................................................................................
101c
???This
..........................................................................................................
102c
???Always grasp only the plug on the AC adaptor cord when plugging into, or unplugging from, an outlet or this unit.
..........................................................................................................
101f
???Please be sure to read and adhere to the cautionary notices contained in the instructions that came with this product.
Please note that, depending on the manner in
which performances are carried out, you may encounter situations where the unit falls off the stand or the stand topples over, even though you have followed all of the instructions and advice contained within the product???s manual. For this reason, you should always perform a
safety check each time you use the stand.
..........................................................................................................
103b
???At regular intervals, you should unplug the AC adaptor and clean it by using a dry cloth to wipe all dust and other accumulations away from its prongs. Also, disconnect the power plug from the power outlet whenever the unit is to remain unused for an extended period of time. Any accumulation of dust between the power plug
and the power outlet can result in poor insulation and lead to fire.
..........................................................................................................
104
???Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
..........................................................................................................
106
???Never climb on top of, nor place heavy objects on the unit.
..........................................................................................................
107c
??? Never handle the AC adaptor or its plugs with
wet hands when plugging into, or unplugging from, an outlet or this unit.
..........................................................................................................
108d: Selection
???If you need to move the instrument, take note of the precautions listed below. It should be handled carefully, all the while keeping it level. Make sure to have a firm grip, to protect yourself from injury
and the instrument from damage.
1
???Check to make sure the screws or the attached knob bolts securing the unit to the stand have not become loose. Fasten them again securely whenever you notice any loosening.
2
??? Disconnect the power cord.
3
??? Disconnect all cords coming from external devices.
..........................................................................................................
109b
??? Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet (p. 25).
..........................................................................................................
110b
??? Whenever you suspect the possibility of lightning in your area, disconnect the AC adaptor from the outlet.
..........................................................................................................
118c
???Keep any screws you may remove and the included knob bolts in a safe place out of
children???s reach, so there is no chance of them being swallowed accidentally ( p. 93, p. 94).
..........................................................................................................
3
IMPORTANT NOTES
Power Supply
301
???Do not connect this unit to same electrical outlet that is being used by an electrical appliance that is controlled by an inverter (such as a refrigerator, washing machine, microwave oven, or air conditioner), or that contains a motor. Depending on the way in which the electrical appliance is used, power supply noise may cause this unit to malfunction or may produce audible noise. If it is not practical to use a separate electrical outlet, connect a power supply noise filter between this unit and the
electrical outlet.
302
???The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a
cause for concern.
307
???Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.
Placement
351
???Using the unit near power amplifiers (or other equipment containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or move it farther away from the source of inter-
ference.
352a
???This device may interfere with radio and television reception. Do not use this device in the vicinity of such
receivers.
352b
???Noise may be produced if wireless communications devices, such as cell phones, are operated in the vicinity of this unit. Such noise could occur when receiving or initi- ating a call, or while conversing. Should you experience such problems, you should relocate such wireless devices so they are at a greater distance from this unit, or switch
them off.
354a
???Do not expose the unit to direct sunlight, place it near devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.
355b
???When moved from one location to another where the temperature and/or humidity is very different, water droplets (condensation) may form inside the unit. Damage or malfunction may result if you attempt to use the unit in this condition. Therefore, before using the unit, you must allow it to stand for several hours, until the condensation
has completely evaporated.
360
???Depending on the material and temperature of the surface on which you place the unit, its rubber feet may discolor or mar the surface.
You can place a piece of felt or cloth under the rubber feet to prevent this from happening. If you do so, please make sure that the unit will not slip or move accidentally.
Maintenance
401a
???For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild,
the unit thoroughly with a soft, dry cloth.
402
???Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation.
Repairs and Data
452
???Please be aware that all data contained in the unit???s memory may be lost when the unit is sent for repairs. Important data should always be backed up in another MIDI device (e.g., a sequencer), or written down on paper (when possible). During repairs, due care is taken to avoid the loss of data. However, in certain cases (such as when circuitry related to memory itself is out of order), we regret that it may not be possible to restore the data, and Roland assumes no liability concerning such loss of data.
Additional Precautions
551
???Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit???s memory in another MIDI
device (e.g., a sequencer).
552
???Unfortunately, it may be impossible to restore the contents of data that was stored in the unit???s memory once it has been lost. Roland Corporation assumes no liability
concerning such loss of data.
553
???Use a reasonable amount of care when using the unit???s buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
554
??? Never strike or apply strong pressure to the display.
556
???When connecting / disconnecting all cables, grasp the connector
internal elements.
558a
???To avoid disturbing your neighbors, try to keep the unit???s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
559a
???When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.
4
561
???Use only the specified expression pedal (Roland
malfunction and/or damage to the unit.
562
???Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For information on
cable specifications, contact the manufacturer of the cable.
563
???Use of the included
law.
566b
???The sensitivity of the D Beam controller will change depending on the amount of light in the vicinity of the unit. If it does not function as you expect, adjust the sensi-
tivity as appropriate for the brightness of your location.
801
???Avoid touching or scratching the shiny underside (encoded surface) of the disc. Damaged or dirty
IMPORTANT NOTES
Printing Conventions and icons in This Manual
(p.**)
5
Contents
6
Contents
7
Contents
8
Contents
9
Contents
Checking the Package Contents
The
retailer from whom this product was purchased.
??? RRC2 cable
??? AC adaptor
??? Owner???s Manual (this manual)
10
Main Features
Ultimate bass modeling system provides unlimited possibilities in creating sounds
The
About COSM
(Composite Object Sound Modeling)
Composite Object Sound
Two complete sound creation systems
The
Equipped with D Beam, ribbon, and other new realtime controllers
The
Console style accommodates a variety of usage environments
The
Combine with the
Connecting a Roland
Includes pitch/MIDI conversion function
The
Features
This function enables you to use performance data and pedal operations in controlling video.
11
Names of Things and What They Do
Top Panel
1.D BEAM
Switches the D Beam on and off. You can add a variety of effects to your sounds by moving your hand or the bass neck within the range of the beam. (p. 71)
???PITCH Button
In addition to changing the pitch of the bass, this can be used for the Freeze function, which continuously holds the bass???s tone. (p. 73)
???FILTER Button
This changes the bass???s tone. (p. 75)
???ASSIGNABLE Button
Use this to assign different parameters and functions to the D Beam and change the tone in real time. (p. 77)
2.LCD
Various information regarding the
3.PATCH/VALUE Dial
Used to switch patches and change settings values.
4.CATEGORY Button
Used to select and change categories. (p. 85)
5.FUNCTION Knob
Changes the value of the setting for the parameter indicated in the LCD.
22
6.FUNCTION Buttons
Used to select the parameters indicated in the LCD.
7.BASS DIRECT Button
This outputs only the normal pickup sound. (p. 27)
8.COSM BASS Buttons
These set the COSM bass type and tone. (p. 26)
9.POLY FX (Poly Effects) Buttons
These set the poly effects. (p. 28)
10. FX (Effects) Buttons
These set the effects. (p. 28)
11. COSM AMP Buttons
Used to make settings for the COSM amp. (p. 27)
12. MIXER Buttons
Used to make settings for the mixer. (p. 31)
13. DELAY/REVERB Button
Used to make settings for the mixer section???s delay and reverb. (p. 32)
14. DYNAMIC Button
Used for setting the dynamics. (p. 32)
12
Names of Things and What They Do
15. BALANCE Knob
Sets the mix balance. (p. 32)
16. CHAIN Button
Used to make settings for the effect and COSM bass/COSM amp connection sequence. (p. 31)
17. CONTROL ASSIGN Button
This sets the functions assigned to pedals and switches. (p. 76)
18. NAME/KEY/BPM Button
Used to specify patch names (p. 34) and the tempo and key (p.
29) for songs to be played.
19.
Adjusts the volume of a patch. (p. 33)
20.
This switches the
21. DIRECT PATCH Buttons
Use these to directly call up the patches you have assigned to them. (p. 81)
22. CONTROL Buttons
You can assign and control a variety of different functions with these buttons. (p. 77)
23. EXIT Button
Used to return previous screens and to undo operations.
24. WRITE Button
Use for storing settings in patches and executing operations. (p. 34) (p. 82)
25. PAGE Buttons
This switches the screens displayed in the LCD.
26. BASS TO MIDI Button
This sets the BASS TO MIDI function (the function that converts what is played on the bass into MIDI signals). (p. 58)
27. SYSTEM Button
Used for making settings related to the
28. GLOBAL Button
This sets the GLOBAL function (which affects the tone of all patches). (p. 40)
29. TUNER Button
This turns the tuning function on. (p. 23)
30. RIBBON CONTROLLER
This allows you to change the tone by sliding your finger along the ribbon.
You can switch a variety of effects on and off directly with the three buttons. (p. 73)
???PITCH Button
Changes the bass???s pitch. (p. 74)
???FILTER Button
Alters the brightness of the sound. (p. 75)
???ASSIGNABLE Button
Use this to assign different parameters and functions to the ribbon controller and change the tone in real time. (p. 77)
31.GK IN Connector
Connect the GK cable here.
32. POWER Switch
Switches the power on and off. (p. 19) (p. 25)
33. OUTPUT LEVEL Knob
This adjusts the volume level for the MAIN OUT jacks and headphone jack.
About the Illumination of Buttons
When a button is lit, it indicates that the function for
that button is switched on.
*The corresponding DIRECT PATCH button
13
Names of Things and What They Do
Rear Panel
1
1.Security Slot ( 
)
988
Connect a commercially available
http://www.kensington.com/
2.BASS INPUT Jack
Use this jack when directly inputting a normal bass.
3.BASS OUTPUT Jack
This outputs sounds from normal basses connected to a GK- 3B and unaltered signals from the BASS INPUT jack.
4.SUB OUT Connectors L, R
These balanced output jacks use XLR type connectors.
*The SUB OUT L and R connectors are unaffected by the OUTPUT LEVEL knob settings; output is constant at a fixed output level (+4 dBu).
5.GND LIFT Switch
You can disconnect the SUB OUT connectors??? No. 1 pin from the
Normally, this is set to GND. Switch to LIFT if a ground loop or similar problem is causing the output of hum or noise.
6.MAIN OUT Jacks L/MONO, R
These are unbalanced phone jack outputs. Use these to connect to amps, mixers, and similar equipment.
7.PHONES Jack
Connect headphones here.
8.DIGITAL OUT Connector
Digital audio signals are output here. (p. 33)
9.EXP PEDAL (EXPRESSION PEDAL) Jack
Connect an optional expression pedal (such as a Roland
*The
10. CTL3,4 (CONTROL 3,4) Jack
An optional footswitch (such as an
*The patch up/down function is assigned to this jack at the factory.
11. USB Connector
Use a USB cable to connect a computer to this connector and enable exchange of data between the
12. RRC2 IN Connector
Accepts connection of an
This connector supplies power to the
*The RRC2 IN connector is for use exclusively with the
13. MIDI OUT, IN Connector
Connect an external MIDI device here to transmit and receive MIDI messages to and from the device. (p. 52)
14. DC IN (AC Adaptor) Jack
Connect the included AC adaptor here.
To prevent damaging the
15. Cord Hook
Fasten the AC adaptor cord using this hook to prevent the cord from being disconnected accidentally. (p. 18)
*Disconnecting the AC adaptor while the
14
15
Flow Signal
Do They What and Things of Names
Chapter 1 Outputting Sounds
Installing the Divided Pickup
First install the
used. For installation instructions, refer to the
Manual.
The
pickup will not function properly even when installed).
???Basses with an unconventional string configuration, such as
???
???Other basses whose construction does not provide adequate space to properly attach the
About the
With the
You may not be able to control the
About the
As the
Before Connecting
To perform with the
???A bass on which the
???Bass amp/speaker or headphones
Performing can be made even more convenient using the following
devices:
???MIDI foot controller (Roland
???Expression pedal (Roland
???Pedal switch (BOSS
16
Making the Connections
Top Panel
Chapter 1 Outputting Sounds
1 Chapter
GK cable
Bass with
Rear Panel
Stereo
Headphones
AC Adaptor
To the Power Outlet
RRC2 cable
(for Normal Bass)
Example of Connections When Using Effects Units
Example 1)
Example 2)
17
Chapter 1 Outputting Sounds
*The GK cable is a locking cable. When disconnecting the cable, do not pull on it with undue force, but instead release the lock and gently disconnect the cable. You can disconnect the cable simply and easily by holding down the locking portion with your finger and gently pulling on the plug.
921
*To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections.
932
*Place the AC adaptor so the side with the indicator (see illustration) faces upwards and the side with textual information faces downwards.
*The indicator will light when you plug the AC adaptor into an AC outlet.
AC Adaptor
Power Cord
AC Outlet
Indicator
924
*To prevent the inadvertent disruption of power to your unit (should the plug be pulled out accidentally), and to avoid applying undue stress to the AC adaptor jack, anchor the power cord using the cord
hook, as shown in the illustration.
fig.CordHook.e.eps
The cord of
the supplied AC Adaptor
To the Power Outlet
Cord Hook
*Wiring diagrams for CTL3, 4 jack is shown below. Make connections after first checking the wiring diagrams of other equipment you
intend to connect.
fig.XLR/TRSJack.eps
=CTL3
=CTL4
*You cannot use COSM BASS or POLY FX with signals input via
922
*This instrument is equipped with balanced type jack (XLR=SUB OUT). Wiring diagrams for this jacks is shown below. Make connections after first checking the wiring diagrams of other
equipment you intend to connect.
fig.XLR/TRSJack.eps
925
*Use only the specified expression pedal (Roland
927
*Depending on the circumstances of a particular setup, you
may experience a discomforting sensation, or perceive that the surface feels gritty to the touch when you touch this device, microphones connected to it, or the metal portions of other objects, such as basses. This is due to an infinitesimal electrical charge, which is absolutely harmless. However, if you are concerned about this, connect the ground terminal (see figure) with an external ground. When the unit is grounded, a slight hum may occur, depending on the particulars of your installation. If you are unsure of the connection method, contact the nearest Roland Service Center, or an authorized Roland distributor, as listed on the ???Information??? page.
Unsuitable places for connection
???Water pipes (may result in shock or electrocution)
???Gas pipes (may result in fire or explosion)
???
926a
*When connection cables with resistors are used, the volume level of equipment connected to the BASS INPUT may be low. If this happens, use connection cables that do not contain resistors.
*Never connect anything other than the
*If using a commercially available ethernet cable as the RRC2 connecting cable, be sure that the cable meets the following specifications:
???Category 5 (Cat5) or above
???Maximum length of 15 meters
???Cable designed for
*Crossover cables cannot be used.
*Do not subject the RRC2 cable to stress or physical shock.
*Carefully connect the RRC2 cable all the way
*When outputting in mono, connect a cable only to the MAIN OUT L/MONO jack.
BASS IN. The
18
Chapter 1 Outputting Sounds
other settings can be used fully in two channels.
*When connecting an expression pedal to the EXP PEDAL jack, set the pedal???s minimum level knob to the MIN position.
*When connecting an
set the MODE switch and POLARITY switch as shown below.
BA
BOSS
*When connecting an
jack, set the POLARITY switch as shown below.
BOSS
*You can connect two
*When an
switch A operates according to the CONTROL 4 settings.
???When using the
???EXP PEDAL (Expression Pedal)??? (p. 139).
???When using the
Turning On the Power
941
Once the connections have been completed (p. 17), turn on power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.
942
*This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally.
943
*Always make sure to have the volume level turned down before switching on power. Even with the volume all the way down, you may still hear some sound when the power is switched on, but this is normal, and does not indicate a malfunction.
*Turning on devices in the wrong sequence may result in malfunction and/or damage to speakers and other devices.
1.Switch on the POWER switch on the
top panel.
The display changes as described below, and after several seconds the
This screen is called the ???Play screen.???
Unless special note is made otherwise, the operations described in this manual are carried out with the Play screen displayed.
*When the power to the
time the power was last turned off is called up.
985
*The explanations in this manual include illustrations that depict what should typically be shown by the display. Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in the display may not always match what appears in the manual.
2.Turn on the power to the bass amp or mixer.
*Raise amp volume levels only after turning on the power to all the devices.
1 Chapter
19
Chapter 1 Outputting Sounds
About the Play Screen
The
You can switch the information shown in the Play screen by pressing
PAGE [ 
] [ 
].
Screen 1:
The first nine characters of the patch name are displayed in large type; also shown are icons for the basses and amps in both channels.
Screen 2:
All sixteen characters of the patch name are displayed.
Screen 3:
The effects used, as well as their connection sequence (CHAIN) in both channels are indicated.
Screen 4:
The screen shows level meters for the GK IN strings Hi
By assigning parameters to the
described in ???Changing the Sounds with the Function
Knobs as You Play (DIRECT EDIT)??? (p. 76), you can use them to control values while in the Play screen. Additionally, you can display a popup for the assigned parameters and their values by pressing the
About the Information in the
Display (Basic Operation)
Some screens may contain parameters spanning multiple pages. The
page number is indicated at the upper right of the screen.
1. Use PAGE [ ] [ ] to switch pages.
2.Use
Pressing a FUNCTION button while SET** appears in the lower part of the screen sets the corresponding function to the indicated value of **.
Adjusting the Volume
Turn the OUTPUT LEVEL knob to set the volume to a suitable level.
*The output level from the SUB OUT connector (XLR type) cannot be adjusted with the OUTPUT LEVEL knob.
*You can adjust the volume level by assigning this function to the expression pedal or
???Using the Switches, Pedals, and MIDI to Control the Sounds (CONTROL ASSIGN)??? (p. 77).
20
Chapter 1 Outputting Sounds
Setting the Device (Amp) Connected to MAIN OUT (Output Select)
Use this procedure to set the type of device connected to the MAIN
OUT jacks.
3
4 
Inputting the Divided Pickup
Settings (GK Settings)
The
*For information on parameters not described in this chapter, refer to
1 Chapter
3
2 
1
When using more than one bass with the
1.Press [GLOBAL].
The Global screen is displayed.
2.Press PAGE [ 
] to go to Page 1.
3.Press [F4] (SELECT) or turn the F4 knob to set the type of device to be connected to the MAIN OUT jacks.
AMP WITH TWEETER Use this setting when connecting to a tweet-
Use this setting when connecting to a bass AMP NO TWEETER amp that has no tweeter. The
cy range is adjusted.
Use this setting when using headphones or LINE/PHONES connecting directly to a PA system or multi-
track recorder.
4.Press [EXIT] to return to the Play screen.
The GK settings are extremely important to getting good tones from the
5 6 3
1
1.Press [SYSTEM].
The System screen is displayed
2.Press PAGE [ 
] to go to Page 1.
3.Press [F3] (GK).
The GK Settings screen is displayed.
4. Press PAGE [ 
] [ 
] to go to Page 2.
21
Chapter 1 Outputting Sounds
5.Select the divided pickup type.
Use the F1 knob to set the type of divided pickup installed in
the bass you are using.
*If you???re not sure which piezo type parameter is appropriate, choose the parameter for the piezo type that sounds the most natural as you play.
*Piezo pickups are a type of pickup that are installed at the bass???s bridge and use piezoelectric elements to determine the string vibrations.
*Selecting PIEZO, PIEZO G or PIEZO R for GK PU TYPE lets you further adjust the sound quality of the low and high frequency ranges. For detailed information, refer to ???Selecting the Divided Pickup Type (GK PU TYPE)??? (p. 36).
6.Set the scale length.
Use the F4 knob to set the scale length (the distance from the bridge to the nut) of the bass you are using. Then, specify the value within
7.Select the position of the divided pickup.
Use the F5 knob to set the position of divided pickup installed
in the bass you are using.
For a
For a
For a
6STR
string Hi C 
string 1 
string 2 
string 3 
string 4 
string Low B 
8.Press PAGE [ 
] to go to Page 4.
9.Input the gap between the pickup and the
bridge.
Set the clearance from the divided pickup to the bridge???s saddle.
*This setting is not required when the GK PU TYPE is set to piezo type parameter.
string Hi C 
string 1 
string 2 
string 3 
string 4 
string Low B 
String
Pickup Bridge
22
Chapter 1 Outputting Sounds
10. Press PAGE [ 
] to go to Page 5.
11. Rotate the
First play the Low B string with the maximum force to be used during actual performance, and as you play the string, set the sensitivity with the F1 knob until the meter registers at a point just before it crosses beyond the maximum level.
Set the sensitivity for the fifth through Hi C strings in the same manner.
*If the level meter registers in excess of the maximum level, it means the level is set too high. Lower the sensitivity setting.
*Depending on the bass you are using, the level meter may move to the maximum level even when the sensitivity is set to the minimum setting. If this occurs, adjust the clearance separating the divided pickup and the strings so the distance is slightly greater than specified.
Tuning the Bass (TUNER)
Tune the bass using the
*To get the best tone quality from the
accurate.
7 
32
1
7
1.Press [TUNER].
The tuner function is switched on.
2.Set the following with the PAGE [ 
] [ 
] buttons.
TUNERExplanation
1 Chapter
12. Check the volume balance of the six strings.
Play the Low B through Hi C strings with the normal amount
MULTI MODE
You can play and tune six strings simulta- neously.
of force; if any string sounds particularly loud, lower the sensitivity setting for that string, and keep adjusting until the
SINGLE MODE
You can play one individual string to tune that string.
differences in the strings??? volume levels are minimal.
13. Press [EXIT] several times to return to the Play screen.
*Making these settings is necessary whenever you install the divided pickup on a new or different bass and when the divided pickup height is changed. Once the settings are completed properly, they are saved when the power is turned off. Afterwards, you need not make the settings each time you play the instrument.
For more information on other parameters in the GK
Settings, refer to ???GK SETTING??? (p. 145).
3.Press the function button ([F5], [F6]) corresponding to the function you want to set, then rotate the knobs to select the value for
the setting.
If you do not want to change these settings, proceed to Step 4.
???[F5] (PITCH: 435
This sets the reference pitch.
*With the factory settings, this is set to 440 Hz.
*The COSM bass PITCH SHIFT, HARMO, and BEND settings controlled by the KEY parameter and the HARMONIST effect refer to this reference pitch.
What is the Reference Pitch?
This is the frequency at A4 (the note played with the A key at the middle of the piano keyboard) played by the instrument (e.g., piano) used as the reference for tuning for performances.
23
Chapter 1 Outputting Sounds
???[F6] (MUTE OFF, MUTE ON)
This setting determines whether sounds from the output jacks are output or not while tuning is in progress.
4.Play a single note, open, on the string being tuned.
5.Tune the string until the name of the string is shown in the display.
When you choose the MULTI MODE
When you choose the SINGLE MODE
6.Keep checking the screen, tuning until the
center indicator lights up.
Repeat Steps
7.When you have finished tuning, press [TUNER] or [EXIT].
This completes the preparations for playing the instrument. Now try playing some sounds.
Switching Tones (Patch)
What is a patch?
The
Each one of these is called a patch.
Each time you switch a patch, you can instantly change to a different tone.
About the Patch Numbers
Patch numbers and patch names are indicated in the Play screen as shown below.
Patch Number
Patch Name
Patches are categorized into User patches and Preset patches.
User Patches
These include 200 preprogrammed patches. You can freely change the tones and save the your changes.
Preset Patches
Included here are 200 preprogrammed patches. Although you can make changes to these tones, you cannot save these changes in a Preset Patch. If you want to save a changed tone, save it as a User patch.
24
Chapter 1 Outputting Sounds
Switching with the PATCH/ VALUE Dial
You can switch patches consecutively with the PATCH/VALUE
Dial.
1.Confirm that the Play screen is displayed.
If a screen other than the Play screen is shown, press [EXIT]
several times until the Play screen appears.
2.Rotate the PATCH/VALUE dial to switch the
patches.
2
Turn the dial to the right (clockwise) to switch to the next patch number, or to the left (counterclockwise) to switch to the previous patch number.
Turning Off the Power
1.Confirm the following before turning off the power.
???Are the volume levels for the
2.Turn off the power to the bass amp (power amp).
3.Press [POWER] to turn off the
3
The message ???NOW SHUTDOWN...??? appears when the power is switched off. The
1 Chapter
25
Chapter 2 Creating Sounds
First, let???s take a look at how the
??? COSM Basses
You can use COSM modeling to create the tones of a variety of different bass guitars. Available sounds include not just electric bass and acoustic bass tones, but extend beyond to include the sounds of synthesizers and electric guitars and even
The
??? COSM Amps
Since this technology models the bass amp circuitry and speaker characteristics, the modeled amps simulate exactly the behavior of the actual amps, even in the way distortion is added and the way the tone controls work.
You can configure preamps and speaker cabinets as you
??? Poly Effects
These are original VB effects that can be applied independently to each string. You can choose which of the two COSM basses the effects are applied to.
??? Effects
The
??? Mixer
In addition to having full freedom in mixing the sounds from the two COSM basses, you can also output the two bass guitars separately to MAIN OUT and SUB OUT. The Dynamic function further allows you to use the force of your playing attack to switch between the two bass sounds or many other functions. Furthermore, the mixer section also includes delay/reverb and an equalizer, enabling you to adjust the overall tone of the patches.
Setting the COSM BASS Tone
1.Press [COSM BASS].
2.Press PAGE [ 
] several times to display Page 1.
3.Use [F1] (ON/OFF) or the F1 knob to switch the COSM BASS ON/OFF setting.
4.Use [F2] (SELECT) or the F2 knob to select the Modeling type.
5.Use [F3] (SELECT) or the F3 knob to select the COSM BASS type.
6.Press PAGE [ 
].
*Each press of PAGE [ 
] takes you to the next screen in which parameter settings are made.
7.Adjust the desired parameter with
8.Adjust the parameters until you achieve the sound you want.
For detailed information about each of the parameters,
refer to ???COSM BASS??? (p. 96).
9.If you want to save the edited settings, perform the Write procedure (p. 34).
*If you do not want to save, press [EXIT] to return to the Play screen.
26
Chapter 2 Creating Sounds
Bass Direct Sound
(BASS DIRECT)
Setting BASS DIRECT to ???on??? enables you to output the direct bass sound at a single touch.
It's possible to create sounds like bass direct sound plus synthesizer bass sound by combining the direct bass sound with COSM bass, effect, or COSM amp sound.
Press [BASS DIRECT] to switch this off (unlit) or on (lit). You can store the BASS DIRECT setting in memory for each individual patch.
Applying the COSM Amps and Effects to Normal Pickup Sound
Setting the COSM BASS switch to ???NORMAL PU??? lets you apply COSM amps or effects using the normal pickup sound for the bass instead of the COSM bass.
Setting the COSM AMP Tone
1.Press [COSM AMP].
2.Press PAGE [ 
] several times to display Page 1.
3.Use [F1] (ON/OFF) or the F1 knob to switch the
COSM AMP ON/OFF setting.
4.Use [F2] (SELECT) or the F2 knob to select the COSM AMP type.
5.Press PAGE [ 
].
*Each press of PAGE [ 
] takes you to the next screen in which parameter settings are made.
6.Adjust the desired parameter with
7.Adjust the parameters until you achieve the sound you want.
For detailed information on all the parameters, refer to
8.If you want to save the edited settings, perform the Write procedure (p. 34).
*If you do not need to save the settings, press [EXIT] to return to the Play screen.
2 Chapter
27
Chapter 2 Creating Sounds
Setting the Effects
POLY FX (Poly Effect)
*You can use POLY FX in only one channel at a time (A or B).
1.Press [POLY FX] for the channel, either A or B, in which you want to use it.
2.Press PAGE [ 
] several times to display Page
1.
3.Switch the function on or off with the [F1] (ON/ OFF) or the F1 knob.
4.Select the POLYFX TYPE with [F2] (SELECT) or the F2 knob.
5.Using [F3] (A/B) or the F3 knob, switch the channel to the one in which POLY FX is to be used.
6.Press PAGE [ 
].
*Each press of PAGE [ 
] takes you to the settings screen for the next parameter.
7.Set the desired parameter with
8.Adjust the parameters until you achieve the desired sound.
For detailed information on all the parameters, refer to
???POLY FX (Poly Effect)??? (p. 108).
9.If you want to save the edited settings, perform the Write procedure (p. 34).
*If not saving the values, press [EXIT] to return to the Play screen.
FX (Effects)
Here???s how to make settings for the effects.
1.Press [FX].
2.Switch the individual effects on or off with the
*Each press of PAGE [ 
] [ 
] takes you to another effect screen in which parameter settings are made.
All effects that are on can be alternately switched off
(indicator unlit) and on (indicator lit) together by
pressing [FX].
3.Press
4.Adjust the desired parameter with
*Each press of PAGE [ 
] takes you to the settings screen for the next parameter.
5.Adjust the parameters until you achieve the sound you want.
For detailed information on all the parameters, refer to
6.If you want to save the edited settings, perform the Write procedure (p. 34).
*If you do not need to save the settings, press [EXIT] to return to the Play screen.
28
Chapter 2 Creating Sounds
Rearranging the Effect and Amp Connection Sequence (CHAIN)
You can freely set the order in which the effects and COSM amps are connected.
1.Press [CHAIN].
The Chain screen is displayed.
*If the effects and COSM amps are off, OFF is indicated.
2.Select the channel for which you want to change the connection sequence with [F1] (A/B).
3.Press [F2] ( 
SEL) [F3] (SEL 
) to select the effect, COSM bass, or COSM amp to be shifted
in the sequence.
The output level for the selected effect is indicated in the
upper right of the screen.
4.Press [F4] (???MOVE) [F5] (MOVE???) to move to the position in the sequence you want the shifted item inserted.
5.To make any additional changes in the connection sequence, repeat Steps
*You can also switch effects, COSM basses, and COSM amps on and off while setting the connection sequence. Pressing [F6] while the effect, COSM bass, or COSM amp is selected switches the function???s ON/OFF setting.
6.Press [EXIT] to return to the Play screen.
7.If you want to save the edited settings, perform the Write procedure (p. 34).
Specifying the tempo and key of the song to be played
1.Press [NAME/KEY/BPM].
2.Press [F3] (BPM).
3.Tap [F1] (TAP) in time with the song tempo (quarter notes), or adjust the tempo with the F1 knob.
*If you want to control a patch parameter with the adjusted tempo, set
the corresponding effect parameter to BPM 
.
BPM stands for ???beats per minute,??? and represents the number of quarter notes played in one minute.
If you want to use the MIDI SYNC function, the SYNC CLOCK parameter must be set to AUTO (USB), AUTO (MIDI), or AUTO (RRC2). For detailed information, refer to ???Syncing to the MIDI Clock from an External
To use Tap Input
Press [F5] (TAP) at least two times, at quarter note intervals of the desired tempo. The tempo will be calculated automatically, and set to the interval at which you pressed the button.
4.If you want to save the edited settings, perform the Write procedure (p. 34).
*If you do not want to save, press [EXIT] to return to the Play screen.
29
Chapter 2 Creating Sounds
Setting the Key
1.Press [NAME/KEY/BPM].
2.Press [F2] (KEY).
3.Set the song???s key with [F1] (SELECT) or the F1 knob.
*The COSM bass PITCH SHIFT, HARMO, and BEND settings and the HARMONIST effect operate according to the key you set here.
4.If you want to save the edited settings, perform the Write procedure (p. 34).
*If you do not want to save, press [EXIT] to return to the Play screen.
Mixing the Normal Pickup Sound with the GK Input
It is possible to combine the sound of the COSM basses and the
normal bass pickups at the same time.
Setting the Volume Balance
1.Press [COSM BASS].
2.Set the COSM BASS SW to ON with [F1] or with the F1 knob.
The sounds from the normal pickup and COSM bass are not played when COSM BASS SW is set to OFF.
3.Press PAGE [ 
] several times to move to the screen for setting the volume balance.
4.Use the F1 and F2 knobs to set the balance between the COSM bass sound and the normal pickup sound.
F1 Knob
Adjusts the COSM bass???s volume level. When POLY FX is set to ON, it adjusts the volume level of the signal after it has passed through POLY FX.
F2 Knob
This adjusts the volume of the normal pickup.
When the COSM bass is connected in CHAIN at a point other than the beginning of the effects chain, you can adjust the volume of the sounds that have passed though effects from the beginning of the chain up to the point where the bass is connected.
5.If you want to save the edited settings, perform the Write procedure (p. 34).
*If you do not want to save, press [EXIT] to return to the Play screen.
30
Chapter 2 Creating Sounds
Setting the Connection Locations for COSM Bass/Normal Pickup Sound
1.Press [CHAIN].
2.Use [F2] ( 
SEL) and [F3] (SEL 
) to select the arrow that indicates the connection
location for the COSM bass or normal pickup sound.
3.Use [F4] ( 
MOVE) and [F5] (MOVE 
) to move the connection location for the COSM
bass or normal pickup sound.
4.If you want to save the edited settings, perform the Write procedure (p. 34).
*If you do not need to save the settings, press [EXIT] to return to the Play screen.
Mixing Channels A and B
Together (MIXER)
For a detailed block diagram of the signal path, refer to Chapter
???Signal Flow??? (p. 15).
2
Setting the Volume and Panning for Each Channel
1.Press [MIXER].
2. Press PAGE [ 
] to display Page 1.
Make the settings for each channel on this page.
*Page 2 and later pages contain the mixer section???s common settings.
3.Set the volume and panning with
4.If you want to save the edited settings, perform the Write procedure (p. 34).
*If not saving the settings, press [EXIT] to return to the Play screen.
When mixing two channels, you can produce a more realistic twin bass tone by setting a channel delay in one of the channels, thus causing the two bass sounds to be output at different times.
For detailed information on all the parameters, refer to
31
Chapter 2 Creating Sounds
Setting the Mix Balance
You can set the mix balance of Channel A and Channel B with the BALANCE knob. Soon after the knob is turned, the balance value pops up in the screen.
*You can also adjust this parameter in Page 2 of the Mixer screen.
*This knob is disabled when the Dynamic function is switched on.
Setting the Delay and Reverb (DELAY/REVERB)
This sets the mixer section???s delay and reverb.
1.Press [DELAY/REVERB].
2.Press PAGE [ 
] to display Page 1.
3.Switch the delay on or off with [F1] (OFF/ON); switch the reverb on or off with [F4] (OFF/ON).
4.Set the parameters with
*Each press of PAGE [ 
] takes you to the settings screen for the next parameter.
5.Adjust the parameters until you achieve the desired sound.
6.If you want to save the edited settings, perform the Write procedure (p. 34).
*If not saving the values, press [EXIT] to return to the Play screen.
For detailed information on all the parameters, refer to
Using Playing Dynamics to Control the Mix Between the Two Channels (DYNAMIC)
You can control the mix between the two channels according to how
strongly the strings are picked.
1.Press [DYNAMIC].
2.Press PAGE [ 
] to display Page 1.
3.Switch the Dynamic function on or off with [F1] (OFF/ON).
4.Select the Dynamic function type.
5.Press PAGE [ 
] to display Page 2.
6.Set the parameters with the
7.If you want to save the edited settings, perform the Write procedure (p. 34).
*If not saving the values, press [EXIT] to return to the Play screen.
For detailed information on all the parameters, refer to
32
Chapter 2 Creating Sounds
Setting the Overall Patch
Volume Level
You can set the overall patch volume level with the
*You can also adjust this parameter in Page 2 of the Mixer screen.
Adjusting the Overall Patch Tone
(TOTAL EQ)
You can make separate settings in each individual patch for the
overall tone after sounds have passed through the mixer.
1.Press [MIXER].
2.Press PAGE [ 
] [ 
] to display Page 3 or 4.
3.Switch the EQ on or off with [F1] (ON/OFF) on Page 3.
4.Set the tonal quality with
5.If you want to save the edited settings, perform the Write procedure (p. 34).
*If not saving the settings, press [EXIT] to return to the Play screen.
For detailed information on all the parameters, refer to
Setting the Output Signal and
Level (OUTPUT)
This sets the signals and levels output for each of the
jacks and connectors.
1.Press [MIXER].
2.Press PAGE [ 
] to display Page 5.
3.Set the signal and level output to MAIN OUT and SUB OUT with
For detailed information on the parameters that can be
set, refer to ???OUTPUT??? (p. 132).
4.Press PAGE [ 
] to display Page 6.
5.Set the signal and level output to DIGITAL OUT with [F2], [F3] or with the F2, F3 knobs.
6.If you want to save the edited settings, perform the Write procedure (p. 34).
*If not saving the settings, press [EXIT] to return to the Play screen.
You can also set the output signal and level for the entire system.
1.Press [SYSTEM].
2.Press PAGE [ 
] [ 
] to display Page 2.
3.Press [F1] (OUTPUT).
4.Set the OUTPUT MODE parameter to SYSTEM with [F1] (SELECT) or the F1
knob.
The value in the MIXER screen is disregarded, and
instead the SYSTEM value < > is applied.
2 Chapter
33
Chapter 2 Creating Sounds
Naming a Patch (PATCH NAME)
You can give names to the patches you create.
1.Press [NAME/KEY/BPM].
2.Press [F1] (NAME).
3.Press PAGE [ 
] [ 
] to move the cursor to the position at which you want to change a character.
4.Select the character with the PATCH/VALUE
dial.
As you continue to rotate the PATCH/VALUE dial, the character guide automatically switches from uppercase letters to lowercase letters, numerals, and symbols.
You can use the following convenient operations by pressing
5.Repeat Steps 3 and 4 to complete the patch name.
6.If you want to save the edited settings, perform the Write procedure (p. 34).
*If not saving the settings, press [EXIT] to return to the Play screen.
Saving a Patch (WRITE)
The settings made to change a sound are temporary; when you switch to a different patch, the settings revert to the values in effect before the changes were made.
If you want to save the changes in the settings, carry out the Write procedure.
To make a copy of an existing patch, you can simply
save it to a different patch number.
1.Press [WRITE].
The Write screen appears.
2.Rotate the PATCH/VALUE dial to select the
3.To save the patch, press [WRITE].
???NOW WRITING...??? is displayed while the patch is being saved, and then the Play screen returns to the display.
*If you do not want to save, press [EXIT] to return to the Play screen.
34
Chapter 3 Global Device Settings (SYSTEM)
*The parameters described in this section are saved without the Write procedure being performed.
Inputting the Divided Pickup
Settings
To ensure optimal conditions for producing sounds with the
After you have finished inputting the various settings, press [EXIT] one or more times to return to the Play screen.
Selecting the Settings
The
1.Press [SYSTEM].
2.Press PAGE [ 
] to display Page 1.
3.Press [F3] (GK) to display the GK SETTING screen.
4.Press PAGE [ 
] to display Page 1.
5.Press [F4] (SELECT) or turn the F4 knob to
select the GK setting
This specifies the setting to be stored as the GK setting.
*Pressing [EXIT] at this point and returning to the Play screen enables the selected GK setting.
*When PATCH is selected for the SET MODE parameter, the GK settings specified in each patch take priority. For detailed information, refer to ???Using Different Bass Settings in Each Patch (SET MODE)??? (p. 39).
Naming GK Settings (GK NAME)
You can give names to each of the GK settings.
1.Follow Steps
2.Press PAGE [ 
] to display Page 1.
3.Press [F6] (NAME).
4.Set the name using PAGE [ 
] [ 
],
*Press [EXIT] one or more times to return to the previous screen.
3 Chapter
35
Chapter 3 Global Device Settings (SYSTEM)
Selecting the Divided Pickup Type
(GK PU TYPE)
1.Follow Steps
2.Press PAGE [ 
] [ 
] to display Page 2.
3.Use F1 (SELECT) or the F1 knob to select the pickup type.
*If you???re not sure which piezo type parameter is appropriate, choose the parameter for the piezo type that sounds the most natural as you play.
*Piezo pickups are a type of pickup that are installed at the bass???s bridge and use piezo electric elements to determine the string vibrations.
Selecting PIEZO, PIEZO G or PIEZO R for GK PU TYPE lets you further adjust the sound quality of the low and high frequency ranges. Adjust them as required.
4.Use the F2 (LOW) and F3 (HIGH) knobs to adjust the sound quality of the low and high frequency ranges.
Inputting the Bass???s Scale
(BASS SCALE)
Set the scale length (the distance from the bridge to the nut).
1.Follow Steps
2.Press PAGE [ 
] [
] to display Page 2.
3.Use the F4 knob to set the scale length of the bass you are using.
MEDIUM (812mm) Specifies the scale of your bass. LONG JB/PB (864mm)
EXTRA LONG (914mm)
Selecting the Position of the
Divided Pickup (GK PU POS)
1.Follow Steps
2.Press PAGE [ 
] [
] to display Page 2.
3.Use the F5 knob to select the position of divided pickup installed in the bass you are using.
For a
For a
For a
6STR
string Hi C 
string 1 
string 2 
string 3 
string 4 
string Low B 
36
Chapter 3 Global Device Settings (SYSTEM)
Matching the Divided Pickup
and Normal Pickup Phase
(GK PU PHASE)
Certain peculiarities in the sound may appear when the COSM bass and normal pickup sounds are mixed. If this occurs, adjust this parameter and switch the COSM bass???s phase.
1.Follow Steps
2.Press PAGE [ 
] [ 
] to display Page 3.
3.Use [F1] (SELECT) or the F1 knob to select the phase.
Setting the DOWN/S1, UP/S2
Switch Arrangement (S1, S2 POS)
On some basses with the divided pickup built in, the positions of the DOWN/S1 and UP/S2 switches are reversed. Set this so that the functions match.
1.Follow Steps
2.Press PAGE [ 
] [ 
] to display Page 3.
3.Use [F3] (SELECT) or the F3 knob to select the arrangement.
Settings Explanation
3 Chapter
Setting the Direction for the Installed Divided Pickup
(GK PU DIRECTION)
*Make this setting if the divided pickup has been installed with the Hi C string end and Low B string end reversed.
1.Follow Steps
2.Press PAGE [ 
] [ 
] to display Page 3.
3.Use [F2] (SELECT) or the F2 knob to select the pickup direction.
Settings Explanation
REVRSE
The DOWN/S1 switch and UP/S2 switch will be reversed.
NORMAL
The cable exits the pickup in the direction of the bass???s bridge.
REVRSE
The cable exits the pickup in the direction of the bass???s neck.
37
Chapter 3 Global Device Settings (SYSTEM)
Setting the Gap Between the
Pickup and the Bridge
(PICKUP???BRIDGE)
Set the clearance from the divided pickup to the bridge???s saddle for
each string.
*This setting is not required when the GK PU TYPE is set to piezo- type parameter.
1.Follow Steps
2.Press PAGE [ 
] [ 
] to display Page 4.
3.Rotate the
string Hi C 
string 1 
string 2 
string 3 
string 4 
string Low B 
Adjusting the Sensitivity for Each String (SENS)
Adjust the divided pickup sensitivity for each string.
1.Follow Steps
2.Press PAGE [ 
] to display Page 5.
3.Rotate the
sensitivity.
Play each open string with the maximum force you???d use in an actual performance, and set the sensitivity such that the meter registers a level just before reaching the maximum level.
*If the large segments at the right end of the level meter appear, it means the level is set too high. Lower the sensitivity setting.
*Pressing
*Depending on the bass you use, the level meter may move to the maximum level even when the sensitivity is set to the minimum setting. If this occurs, adjust the clearance separating the divided pickup and the strings so the distance is slightly greater than specified.
4.Play the Low B through Hi C strings with the normal amount of force; if any string sounds particularly loud, lower the sensitivity setting for that string, and keep adjusting until the differences in the strings??? volume levels are minimal.
String
Pickup Bridge
Adjusts the divided pickup input sen- sitivity for each string.
38
Chapter 3 Global Device Settings (SYSTEM)
Setting Whether or Not the Divided Pickup Is Used (GK CONNCT)
The
1.Follow Steps
2.Press PAGE [ 
] to display Page 1.
3.Use [F1] (SELECT) or the F1 knob to select the setting.
Settings Explanation
The presence of a GK connection is detected au- AUTO tomatically and the internal settings are
Determining the Function of the
GK Volume Control and DOWN/
S1, UP/S2 Switches (GK FUNC)
This sets the function for the
UP/S2 switches.
4.Set the parameter you want to assign with [F1] (SELECT), [F6] (SELECT) or the F1, F6 knob.
For detailed information on the parameters that can be
ON
switched accordingly.
Settings appropriate for a GK connection are al- ways used.
assigned, refer to ???GK VOL (GK Volume)??? (p. 145) and
???GK S1, S2 (GK S1, S2 Switch)??? (p. 145).
OFF
Settings appropriate for a BASS INPUT connec- tion are always used.
*You should ordinarily use AUTO (the default setting). In cases where the
Using Different Bass Settings in
Each Patch (SET MODE)
This setting determines whether the
setting or if the GK settings can be specified individually for each
patch.
1.Follow Steps
2.Press PAGE [ 
] to display Page 1.
3.Use [F3] (SELECT) or the F3 knob to select the setting.
Settings Explanation
The GK SETTING set here is used globally for SYSTEM the entire
PATCH
This is the default factory setting.
The GK Settings can be specified individually for each patch.
Use this setting when switching among multi- ple basses as you perform.
39
Chapter 3 Global Device Settings (SYSTEM)
Adjusting the Overall Tone According to the Environment
(GLOBAL/OUTPUT SELECT)
The
Selecting the Settings
The
After you have finished inputting the various settings, press [EXIT] one or more times to return to the Play screen.
1.Press [GLOBAL].
2.Press PAGE [ 
] to display Page 1.
The Global screen appears.
3.Select any setting
Naming the Settings
You can assign up to ten user names, each containing up to eight characters. For example, you could create names that suggest the gear used in a certain setting or a place where you perform.
1.Follow Steps
2.Press [F3] (NAME).
3.Set the name using PAGE [ 
] [ 
] and [F1]??? [F5].
Setting the Types of Connected
Devices (OUTPUT SELECT)
You can match the
1.Follow Steps
2.Use [F4] (OUTPUT SELECT) or the F4 knob to set the type of device to be connected to the MAIN OUT jacks.
Use this setting when connecting to a AMP NO TWEETER bass amp that has no tweeter. The high-
frequency range is adjusted.
Use this setting when using head- LINE/PHONES phones or connecting directly to a PA
system or
40
Chapter 3 Global Device Settings (SYSTEM)
Adjusting the Overall Tone
(GLOBAL EQ)
Both MAIN OUT and SUB OUT feature
EQ (MAIN) is applied to the output from MAIN OUT;
EQ (SUB) is applied to the output from SUB OUT.
1.Follow Steps
2.Press PAGE [ 
] [ 
] to display Page
3.Use [F1] ??? [F6] or the F1 ??? F6 knobs to adjust the tone.
Parameter/
Controlling the Overall Effect of
the Noise Suppressor (Total NS)
This controls the overall threshold value for the noise suppressor settings in the individual patches. This is an effective tool when basses are changed during performances and for making adjustments in response to noise levels at the performance venue. This is an overall setting and does not alter the individual patch settings.
1.Follow Steps
2.Press PAGE [ 
] to display Page 6.
3.Adjust the level with the F1 knob.
3 Chapter
Range
Explanation
This adjusts the noise suppressor threshold levels set in each
MAIN EQ (Main Equalizer),
SUB EQ (Sub Equalizer)
A
MAIN EQ SW (Main Equalizer Switch),
SUB EQ SW (Sub Equalizer Switch)
TOTAL GAIN
LOW GAIN
HIGH GAIN
LOW MID FREQ (Low Middle Frequency)
patch.
*This adjustment has no effect on patches in which the noise suppressor is off.
*To use the levels set in the individual patches, set this to 0 dB.
41
Chapter 3 Global Device Settings (SYSTEM)
Controlling the Overall Reverb
Level (Total REVERB)
This controls the overall reverb level settings in the individual patches. This is effective for adjusting to the acoustics of the performance venue. This setting does not affect the individual patch settings.
1.Follow Steps
2.Press PAGE [ 
] to display Page 6.
3.Adjust the level with the F2 knob.
This adjusts the reverb level set in each patch.
*This adjustment has no effect on patches in which reverb is switched off.
*To use the levels set in the individual patches, set this to 100%.
Setting the Sounds Output from
SUB OUT (SUB OUT LEVEL)
This setting selects which signals are output from the SUB OUT
jacks.
1.Follow Steps
2.Press PAGE [ 
] to display Page 6.
3.Adjust the setting with the F3 knob.
This adjusts the sub output level set in each patch.
*To use the levels set in the individual patches, set this to 100%.
Setting the GK VOLUME
Control and Switch and the
Pedal Function (SYSTEM
CONTROL ASSIGN)
1.Press [SYSTEM].
2.Press PAGE [ 
] to display Page 1.
3.Press [F4] (CTL).
4.Press PAGE [ 
] to display Page 1.
5.Select any setting from GK VOL to
If you want to be able to assign the functions for the controllers on an individual patch basis, set Control Assign to ASSIGNABLE (PATCH). With Control Assign set to ASSIGNABLE (PATCH), the unit operates in accordance with the assignments set in each patch, as described in ???Using the Switches, Pedals, and MIDI to
Control the Sounds (CONTROL ASSIGN)??? (p. 77).
*With other settings, the assignment settings in the patches are disregarded.
For information on assigned controllers, refer to
???Controller??? (p. 146) ; for more on assignable
parameters, refer to ???Parameters That Can Be
42
Chapter 3 Global Device Settings (SYSTEM)
Having Values from an External Pedal, GK VOLUME Control, or Other Controller Carried Over When Patches are Called Up (ASSIGN HOLD)
This setting determines whether or not the current settings for each controller (the expression pedals, the
*Assign Hold is not performed when the SW MODE parameter in Control Assign Source is set to LATCH. (LATCH toggles between the minimum and maximum value each time the switch is pressed.)
1.Press [SYSTEM].
2.Press PAGE [ 
] to display Page 1.
3.Press [F4] (CTL).
4.Press PAGE [ 
] to display Page 2.
The Control screen appears.
5.Select ON or OFF for the Assign Hold function with [F1] (OFF/ON) or the F1 knob.
Settings Explanation
Making
1.Press [SYSTEM].
2.Press PAGE [ 
] to display Page 1.
3 Chapter
3.Press [F4] (CTL).
4. Press PAGE [ 
] [ 
] to display Page 2.
The Control screen appears.
5.Set the DIRECT EDIT parameter to SYSTEM with [F2] (SELECT) or with the F2 knob.
If you want to be able to assign the functions for the knobs on an individual patch basis, set DIRECT EDIT to PATCH. With DIRECT EDIT set to PATCH, the unit operates in accordance with the assignments set in each patch, as described in ???Changing the Sounds with the
Function Knobs as You Play (DIRECT EDIT)??? (p. 76).
6. Press Page [ 
] to go to the page for the knob you want to set.
ON
Current values of controllers are applied when patches are called up.
Stored values (at the time of Patch Write) of OFFcontrollers are used when patches are called
up. (Current controller values ignored.)
You can quickly locate and select the desired parameter by first narrowing down the parameter type with F1 (F4), then using F2 (F5) and then F3 (F6) to reach the right parameter.
43
Chapter 3 Global Device Settings (SYSTEM)
Limiting the Patches That
Can Be Switched (PATCH
EXTENT)
Setting upper and lower limits for the patches that can be switched
allows you to select only the patches you need.
1.Press [SYSTEM].
2.Press PAGE [ 
] to display Page 3.
3.Press [F1] (MISC).
4.Press [F3] (FROM).
5.Set the lower limit of the patch selection with the PATCH/VALUE dial and [F3] (FROM) or the F3 knob.
6.Press [F4] (TO).
7.Set the upper limit of the patch selection with the PATCH/VALUE dial and [F4] (TO) or the F4 knob.
*These settings are enabled in the following situations.
???When the PATCH/VALUE dial is turned
???When patches are switched with the control switches or other controls
???When SYSTEM CONTROL ASSIGN (p. 42) is used to assign PATCH SELECT INC or PATCH SELECT DEC to the
These settings have no effect on other
Adjusting the Screen???s
Contrast
The text and icons in the LCD screen may be difficult to make out sometimes, such as immediately after the
1.Press [SYSTEM].
2.Press PAGE [ 
] to display Page 1.
3.Press [F1] (LCD).
4.Turn the F1 knob to adjust the contrast.
44
Chapter 3 Global Device Settings (SYSTEM)
Setting the Output Signal
and Level (SYSTEM OUTPUT)
This sets the signals and levels output for each of the
1.Press [SYSTEM].
2.Press PAGE [ 
] [ 
] to display Page 2.
3 Chapter
3.Press [F1] (OUTPUT).
4.Set the OUTPUT MODE parameter to SYSTEM with [F1] (SELECT) or with the F1 knob.
*If set to PATCH, the values set under???Setting the Output Signal and Level (OUTPUT)??? (p. 33) are enabled. The value in the MIXER screen is disregarded, and instead the value < > is applied.
5.Set the signal and level output to each output
with PAGE [ 
] [ 
] or with the
For detailed information on the parameters that can be
set, refer to ???OUTPUT??? (p. 151).
45
Chapter 4 Using the
With an
the following operations:
???Switch patches
???Have patch names be shown in the
???Control tones with the
???Show the
???Switch the
Connecting with the RRC2 IN Connector
Connect the
the unit.
What is RRC2?
RRC2 is a Roland protocol that provides for the supply of
power and
Devices can also be connected using a commercially available
ethernet cable instead of the included RRC2 cable.
???Be sure to connect the RRC2 OUT connector to a device with an RRC2 IN connector. Use of the connection with LAN or other devices may cause generation of heat and damage to the equipment.
???Carefully connect the RRC2 cable the way
???Do not subject the RRC2 cable to stress or physical shock.
???If using commercially available ethernet cable as the RRC2 connecting cable, be sure that the cable meets the following specifications:
???Category 5 (Cat5) or above
???Maximum length of 15 meters
???Cable designed for
*Ethernet cables designed for crossover connections cannot be used.
Settings Related to the FC- 300
If connecting the
the settings below as needed.
Settings for Control of the FC- 300
This sets the method for controlling the
1.Press [SYSTEM].
2.Press PAGE [ 
] to display Page 1.
3.Press [F5]
4.Set the SYS EX MODE with [F1] (OFF/ON) or with the F1 knob.
*The
46
Chapter 4 Using the
Setting the Operation When
Patches Are Switched
This sets the timing at which patches are switched when you press
[ 
] [ 
] pedals on the
1.Press [SYSTEM].
2.Press PAGE [ 
] to display Page 1.
3.Press [F5]
4.Set BANK CHANGE with [F2] (SELECT) or with the F2 knob.
Available Description
Settings
The patch changes immediately when the
IMMEDIATE
[ ] [ ] pedals are pressed.
Even after the 
] [ 
] pedals are WAIT NUM pressed, the patch does not change until the NUM-
BER is set.
*The
Activating the
(QUICK TUNER)
You can use the
*The Quick Tuner function is enabled only in the Play screen.
*The Quick Tuner function is enabled only when the
1.Press [SYSTEM].
2.Press PAGE [ 
] to display Page 1.
3.Press [F5]
4.Set QUICK TUNER with [F3] (SELECT) or with the F3 knob.
4 Chapter
47
Chapter 4 Using the
Setting the
Control
This switches the
When the bass amp???s channel switch jack is connected to the FC- 300???s AMP CONTROL 1 jack (or AMP CONTROL 2 jack), you can then switch the bass amp channels with the
1.Use the PATCH/VALUE dial to select the patch you want to set.
2.Press [NAME/KEY/BPM].
3.Press [F4] (AMP CTL).
4.Use [F1] and [F2] or the F1 and F2 knobs to set AMP CTL1 and AMP CTL2 to ON or OFF.
Available Settings Description
OFF
The
ON
The
With Amp Control, not only can you switch amp channels, you can also use it to switch the amp???s effects on and off, like a foot switch controller.
48
Chapter 5 Using MIDI
About MIDI
MIDI, an abbreviation for Musical Instrument Digital Interface, is a universal standard that enables musical instruments to exchange musical performance data, messages concerning changes in the sounds, and other information. Any device that conforms to the MIDI specifications can communicate (to the extent that is relevant to both devices) with any other MIDI device, even those that were made by a different manufacturer or that belong to a different category of instrument.
Under the MIDI specifications, performance data produced by such actions as playing a keyboard or pressing a pedal is handled as MIDI messages.
What You Can Do Using MIDI
Using MIDI, you can carry out the following operations with the VB- 99.
If using the
*Use of MIDI requires that the MIDI channels of connected devices be matched.
Data cannot be transmitted to or received from other MIDI devices unless the MIDI channels are set correctly.
Operating from the
Outputting Program Change Messages
When a patch is selected with the
MIDI IN
MIDI OUT
Outputting Control Change Messages
Data describing the action of an external device (expression pedal or footswitch) connected to the
Outputting Performance Data
The bass???s performance data can be output as Note messages and Bend messages, allowing you to perform through synthesizer sound modules and other devices connected to the
Sound Module (BASS TO MIDI)??? (p. 58).
Transmitting Data
You can use Exclusive messages to transmit settings for effect sounds and other data stored in the
Controlling the
Switching Patch Numbers
The
You can set the correspondence between MIDI Program
Change messages and the
PC MAP (RECEIVE PROGRAM CHANGE MAP)??? (p.
55). Set this to ensure correspondence of the
effect sounds with those of other MIDI devices.
The connections shown in the diagram below are used when playing your bass backed by an automatic sequencer performance. The VB- 99???s patches change automatically when a Program number is entered with the performance data at the point where you want the
MIDI OUT
MIDI IN
5 Chapter
49
Chapter 5 Using MIDI
Receiving Control Change Messages
The
???Using the Switches, Pedals, and MIDI to Control the
Sounds (CONTROL ASSIGN)??? (p. 77).
Receiving Data
The
saved to MIDI sequencers.
Main Types of MIDI Messages Handled by the
In order to be able to convey the full range of expression that is possible during performance, MIDI provides for different types of MIDI messages. MIDI messages can be categorized broadly into two groups; messages handled on an individual MIDI channel basis (Channel messages), and those handled independently of MIDI channels (System messages).
Channel Messages
These are messages used for conveying the events that take place during performance. Normally, you can control most performances using only these messages. The action controlled with each MIDI message is determined by the receiving device???s settings.
Program Change Messages
These message are generally used for switching sounds; sounds are switched with Program Change numbers
Control Change Messages
Control Change messages are used for enhancing performance expression. Functions are distinguished from one another with Control numbers; the particular functions that can be controlled varies with the MIDI device. With the
Note On Messages
These messages convey to the device the pitches and volumes at which sounds are played.
Note Off Messages
These messages instruct the device to stop sounds currently being played.
Bend Messages
These messages are sent to produce continuous changes in the pitch.
System Messages
System messages include Exclusive messages, messages required for synchronized performances, and messages designed to prevent problems with operation.
Exclusive Messages
Exclusive messages are used for handling sounds unique to a particular device and other such messages. Basically, you can exchange messages between devices of the same type from the same manufacturer. Using Exclusive messages, you can store parameter settings to sequencers and transmit parameter settings to other VB- 99s.
To exchange Exclusive messages, the Device ID numbers for each of the instruments must match.
50
Chapter 5 Using MIDI
About the MIDI Implementation
While the use of MIDI allows various devices to communicate with each other, this does not mean that it enables exchanges of all information. The data that can be exchanged between any two connected devices is limited to the messages common to both devices.
Therefore, MIDI device owner???s manuals always contain a MIDI Implementation chart, which allows the user to determine quickly what MIDI messages the particular device supports. Comparing the MIDI Implementation charts for each device allows you to confirm what information can be exchanged and how to accomplish this. Since these charts are uniform in size, you can overlay the charts for the transmitting and receiving devices when checking the information.
Function Transmit Recognized Remarks
A separate publication titled ???MIDI Implementation??? is also available. It provides complete details concerning the way MIDI has been implemented on this unit. If you should require this publication (such as when you intend to carry out
Exchanging MIDI Messages
This section provides a simple description of how MIDI messages are exchanged.
About MIDI Connectors
MIDI messages are exchanged via the connectors described below. Connect MIDI cables to these connectors according to the use.
About MIDI Channels
MIDI allows various different messages to be sent separately to multiple MIDI devices over a single MIDI cable. This is possible thanks to the concept of MIDI channels.
MIDI channels use an approach similar to that of television channels. Switching channels on the TV allows the viewer to watch programs from a variety of broadcasters. This is because information is transferred over the channel to which both the transmitter and receiver are tuned.
TV information from many different broadcasting
Broadcasting station is sent through an antenna.
Station A
Broadcasting
Station B
Broadcasting
Station C
Select the channel of the broadcasting station you wish to watch.
MIDI includes channels numbered
transmitted to (receiving) instruments set to the same channel as the
transmitting device???s.
5 Chapter
51
Chapter 5 Using MIDI
Bank Select and Program Change
Bank Select and Program Change are MIDI messages generally used for switching patches.
Normally, patches are switched using Program Change messages. However, if Program Changes alone are used, you???ll only be able to select up to a maximum of 128 different patches. Because of this, some devices also employ the Bank Select, expanding the number of selectable patches.
Patches for these devices are assigned numbers combining Bank Select MSB, LSB numbers
*The
Setting the
Functions
This section describes the
according to how they are to be used.
1.Press [SYSTEM].
The System screen appears.
2.Press PAGE [ 
] to display Page 1.
3.Press [F6] (MIDI).
The MIDI settings screen appears.
The following section describes the settings used with MIDI.
MIDI Channel
This sets the channel used for transmitting and receiving MIDI
messages corresponding to the
Also refer to ???Playing an External Synthesizer Sound Module
(BASS TO MIDI)??? (p. 58) if you are using the BASS TO MIDI
function, and refer to ???Controlling Video Images with Your Bass
1.Follow Steps
2.Press PAGE [ 
] to display Page 1.
3.Rotate the F1 knob to set the MIDI channel (1??? 16).
Be sure not to set the same MIDI channel as the channel
used for the BASS TO MIDI or
52
Chapter 5 Using MIDI
MIDI Omni Mode
When set to MIDI Omni mode, the
1.Follow Steps
2.Press PAGE [ 
] to display Page 1.
3.Set Omni mode on or off with [F2] or the F2 knob.
Even with Omni mode set to ON, the only Exclusive messages received will be those carrying the Device ID set for Device ID.
Omni mode is set to ON at the factory.
MIDI Device ID
This sets the Device ID to be used for the transmission and reception
of Exclusive messages.
Device ID is set to 1 at the factory.
1.Follow Steps
2.Press PAGE [ 
] to display Page 1.
3.Rotate the F3 knob to set the Device ID
SYNC CLOCK
You can synchronize the
1.Follow Steps
2.Press PAGE [ 
] to display Page 1.
3.Use [F6] (SELECT) or the F6 knob to select the MIDI Clock to use as the tempo reference.
For detailed information on the parameters that can be
set, refer to ???Syncing to the MIDI Clock from an
MIDI ROUTING
Set the
The
Check the display as you set the necessary connections.
You can make the settings for MIDI IN and OUT on Page 2, for the USB connector on Page 3, and for the RRC2 IN connector on Page 4.
1.Follow Steps
2.Press PAGE [ 
] [ 
] to display Pages
5 Chapter
3.Set the connections with
53
Chapter 5 Using MIDI
MIDI PC OUT
This setting determines whether or not Program Change messages
are output when the
1.Follow Steps
2.Press PAGE [ 
] [ 
] to display Page 5.
3.Set PC OUT ON/OFF with [F1] or the F1 knob.
When outputting Program Change messages, the
simultaneously outputs MIDI Bank Select messages.
TX PC MAP (TRANSMIT PROGRAM
CHANGE MAP)
This setting determines the sequence of Program Change messages output when the
You can select whether to output Program Change messages set for the patches in advance or the Program Change messages programmed in each patch.
1.Follow Steps
2.Press PAGE [ 
] [ 
] to display Page 5.
3.Use [F2] or the F2 knob to set whether or not the Transmit Program channel is used.
Available Description
Settings
Regardless of the patch settings, Program Change FIXmessages predetermined for each patch number are
PROG
output.
The Program Change messages programmed in each patch are output.
The table below shows the correspondence between the patches and
Program Change messages when TX PC MAP is set to FIX.
54
Chapter 5 Using MIDI
Setting the TX PC MAP
To set Program Change messages to be transmitted with individual
patches, make the settings described below.
Patch parameters are settings made individually for each
patch. The Write procedure (p. 34) is required to save changes
in the settings.
1.Select the patch to which you want to assign the predetermined Program Change message to be transmitted.
2.Press [NAME/KEY/BPM].
3.Press [F5] (TX PC).
RX PC MAP (RECEIVE PROGRAM
CHANGE MAP)
You can select whether to use a fixed or freely set correspondence between program numbers received and the patches switched to when the
1.Follow Steps
2.Press PAGE [ 
] [ 
] to display Page 5.
3.Use [F3] or the F3 knob to set whether or not the Receive Program Change Map is used.
Available Description
Settings
FIX
The
Chapter
PROG
The
5
4.To change the patch assigned to a received Program Number, press [LEFT] [RIGHT] to
display Page 6.
The RX PC MAP screen appears.
5.Assign the patch to a received Program Number.
???[F1] (BANK)/F1 Knob
Selects the Bank number.
???[F2] (SEL
) or [F3] (SEL
)/F2 or F3 Knob Selects the Program number.
???[F5] (SELECT)/F5 Knob
Selects the patch.
When the combination of the Bank number and Program number selected with F1, F2, and F3 is received, the
55
Chapter 5 Using MIDI
The table below shows the correspondence between the factory default Program change Map and the Program Change messages received when RX PC MAP is set to FIX.
*When setting ???OMNI MODE??? (p. 149) to OFF, be sure to match
???MIDI CH (MIDI Channel)??? (p. 149) to the external MIDI device???s transmit channel beforehand.
Setting the MIDI Output Control
Change Number
This sets the Control Change numbers output when the
1.Follow Steps
2.Press PAGE [ 
] [ 
] to display Page 7.
The TX CC screen appears.
3.Use [F2] (SEL 
) or [F3] (SEL 
), the F2 or F3 knobs to select the controller you want to set.
4.Use [F5] or the F5 knob to assign the Control Change number to be transmitted when the
controller is adjusted.
When the controller selected with F2 or F3 is operated, the Control Change message selected with F5 is transmitted.
*Control Changes message cannot be output if OFF is selected.
Bulk Dump
With the
This transmission of data is referred to as bulk dump. Data that can be transmitted is described below.
How to Transmit the Data
When Saving Data to a MIDI Sequencer
Connect the devices as shown below, then place the MIDI sequencer
in standby mode, so it is ready to receive Exclusive messages.
MIDI IN
MIDI OUT
For information on how to operate the sequencer you are
using, refer to the owner???s manual that came with it.
56
Chapter 5 Using MIDI
When Transmitting Data to Another
Connect the devices as shown below, then match the Device IDs for
the transmitting and receiving devices.
MIDI OUT
MIDI IN
1.Follow Steps
2.Press PAGE [ 
] [ 
] to display Page 8.
3.Use [F2] (SEL) or [F3] (SEL) to select the data you want to transmit.
4.Press [F1] (CHECK).
Only the types of data with a check mark are transmitted.
When selecting PATCH FROM/TO, you can use the
PATCH/VALUE dial to specify the range of patch
numbers to be transmitted
5.Repeat Steps 2 and 3 as needed.
6.Press [F6] (DUMP).
Transmission begins. Once the transmission is complete,
you???re returned to the screen you were in prior to
transmission.
You can cancel the procedure in progress by pressing
[EXIT].
Bulk Load
Reception of
is referred to as bulk load.
When Receiving Data Saved to a MIDI Sequencer
1.Connect the devices as shown below. Set the
MIDI OUT
MIDI IN
2.Transmit the bulk data from the MIDI
sequencer.
The message ???SYSTEM EXCLUSIVE MESSAGE RECEIVING...??? is displayed while the data is being received. Once the reception is complete, you???re returned to the screen you were in prior to reception.
In this state, the
If the message ???MIDI BUFFER FULL??? appears, check the
connections and reduce the tempo of the transmitting
MIDI device.
5 Chapter
57
Chapter 5 Using MIDI
Syncing to the MIDI Clock from an External Device
1.Follow Steps
2.Press PAGE [ 
] to display Page 1.
3.Use [F6] (SELECT) or the F6 knob to select the
synchronizing signal.
This specifies the setting to be stored as the SYNC CLOCK setting.
??? INTERNAL
The
??? AUTO (USB)
The
??? AUTO (MIDI)
The
??? AUTO (RRC2)
The
Playing an External
Synthesizer Sound Module
(BASS TO MIDI)
The
The BASS TO MIDI function features system parameters, whose settings affect the overall functionality of the device, and patch parameters, which are set on an individual patch basis.
About MIDI messages Output with Bass to MIDI
The following MIDI messages are output with Bass to MIDI.
Program Change Messages
These messages convey information about a patch change.
Control Change Messages
These messages describe any changes made using the panel knobs or by operating pedals.
Note On Messages
These messages convey to the device the pitches and volumes at which sounds are played.
Note Off Messages
These messages instruct the device to stop sounds currently being played.
Bend Messages
These messages are sent to produce continuous changes in the pitch.
The
*If the pitch (MIDI note messages) output with Bass to MIDI becomes too low (or too high) because of the effects of the Channel A COSM BASS settings, the pitch is automatically shifted one octave higher (or lower).
58
Chapter 5 Using MIDI
Setting the BASS TO MIDI
Function (System Parameters)
These procedures are used for making settings for the device as a whole. Changes are saved automatically, and the Write procedure is not required.
After entering these parameters, press [EXIT] several times to return to the Play screen.
Switching the BASS TO MIDI Function
On and Off
1.Press [BASS TO MIDI].
The BASS TO MIDI screen appears.
2.Set BASS TO MIDI to ON with [F1] (OFF/ON) or
the F1 knob.
Setting this to OFF prevents the output of all MIDI messages
related to the BASS TO MIDI function.
Selecting the Controller Used to Control the Hold Function (HOLD CTL)
1.Press [BASS TO MIDI].
The BASS TO MIDI screen appears.
2.Press [F5] (SYSTEM).
3.Use [F1] (SELECT) or the F1 knob to select the controller you want to set.
Controllers to which HOLD CTL is assigned are enabled simultaneously with parameters set in the SYSTEM CONTROL ASSIGN settings (p. 146). Set CONTROL ASSIGN to OFF if you want to use only the Hold function.
You can select the way the Hold function operates. For more details, refer to ???Selecting How the Hold
5 Chapter
59
Chapter 5 Using MIDI
Thinning Out Bend Messages (BEND THIN)
Vibrato, slides, and other such data in bass performances are output as Pitch Bend messages. For this reason, the receiving MIDI device may encounter problems with operation when Pitch Bend messages containing large amounts of data are included.
You can use the BEND THIN function to thin out the Pitch Bend messages and control the volume of MIDI data.
1.Follow Steps
2.Set the function to ON with [F2] (OFF/ON) or
the F2 knob.
Select OFF when you do not want to reduce the amount of
data transmitted in the Pitch Bend messages.
Setting the MIDI Transmit Channel
(BASIC CH)
This sets the MIDI channel used for output of string performance data from the
Set the MIDI channels according to the POLY/MONO mode as shown below.
??? When set to POLY mode
The performance data for all of the strings is transmitted over the basic channel.
??? When set to MONO mode
Hi C string: Transmitted over the basic channel.
1st string: Transmitted over the channel number one higher than the basic channel.
:
Low B string: Transmitted over the channel number five higher than the basic channel.
For more details about the mode, refer to ???Setting the
Transmission Mode (MODE)??? (p. 61).
1.Follow Steps
2.Set the channel with [F3] (SELECT) or the F3 knob.
Preventing Transmission of Program
Change Messages (PC MASK)
You can prevent transmission of Program Change messages that can
be set in ???Outputting Program Change Messages
Simultaneously When Switching Patches (PC)??? (p. 64).
*This does not affect such Program Changes as those set in ???MIDI PC OUT??? (p. 54).
1.Follow Steps
2.Set the function to ON with [F4] (OFF/ON) or
the F4 knob.
When PC MASK is set to ON, the Program Change messages
set with the PC parameter (p. 64) in BASS TO MIDI are not
transmitted.
60
Chapter 5 Using MIDI
Setting the Transmission Mode (MODE)
1.Press [BASS TO MIDI].
The BASS TO MIDI screen appears.
2.Press [F3] (PATCH).
3.Press PAGE [ 
] to display Page 1.
5 Chapter
4.Set the mode with [F1] (SELECT) or the F1 knob.
???MONO (MONO Mode)
In this mode, one channel per string is used, thus using a total of six channels.
Since each string uses a different MIDI channel, you can select a different tone for each string, using string bending or continuously varying the pitch on a specific string; however, this requires use of a multitimbral sound module.
??? POLY (POLY Mode)
In this mode, the messages for all six strings are transmitted over a single channel.
While transmitting the MIDI messages for all of the strings over one channel does simplify the settings needed for the sound module and reduces the number of MIDI channels used, it does impose certain limitations; for example, permitting only one tone to be selected for all of the strings.
61
Chapter 5 Using MIDI
Adjusting the Feel Produced in Playing
the Bass (PLAY FEEL)
This selects the response of the synth sound relative to the playing dynamics.
Changing this setting depending on the performance style used with the bass or the tone allows you to express dynamics more naturally.
1.Follow Steps
2.Press PAGE [ 
] to display Page 1.
3.Adjust the setting with [F2] (SELECT) or the F2 knob.
???
FEEL1 is the mode that gives sounds the broadest variation in volume based on the playing dynamics. As the setting number is increased, it becomes easier to produce high volume sounds even with weaker playing.
This allows you to play with consistent volume, whether you tap the strings or use rough playing.
??? NO DYNA
In this mode, sounds are played at a fixed volume regardless of the playing strength.
??? STRUM
This suppresses the output of sounds from weaker playing. This setting allows you to prevent undesired sounds produced when playing rhythm or due to incidental contact with strings from incorrect playing.
Changing the Pitch in Semitone Units
(CHROMATIC)
When using string bending or other such techniques to gradually change the pitch with the bass, you can set the
1.Follow Steps
2.Press PAGE [ 
] to display Page 1.
3.Adjust the setting with [F3] (SELECT) or the F3 knob.
???OFF
Normal Pitch Bend messages are output. The pitch varies continuously in keeping with the string bending or vibrato.
??? TYPE 1
When the pitch changes, this setting applies the results of the pitch change information without stopping the note that is playing.
This produces a unique effect, whereby there is no attack sound when the pitches change, similar to slurring on a recorder.
??? TYPE 2
When the pitch changes, the
As a result, the attack sound plays each time the pitch changes. The attenuation of the string vibration following the moment the string is played is reflected in the gradual fading of the retriggered sound.
??? TYPE 3
As with TYPE 2, sounds are retriggered at the changed pitch, expressing the pitch changes only in semitones.
However, instead of reflecting the attenuation of the string vibration, the retriggered sound is the same as that when the string was initially played.
62
Chapter 5 Using MIDI
3.Use [F1] (SELECT) or the F1 knob to select
4. Use [F2] (SELECT) or the F2 knob, or [F5] (SELECT) or the F5 knob, to select the Control Change number you want to output.
Off, CC
63
Chapter 5 Using MIDI
The MIDI channel over which the messages are output in POLY mode is only the basic channel. In MONO mode, the messages are output over the six channels spanning from the basic channel up to the channel numbered five above the basic channel.
Outputting Program Change Messages
Simultaneously When Switching
Patches (PC)
This sets the Program Change messages that are output when the
*Program Change messages are not output while PC MASK (p. 60) is set to ON.
1.Follow Steps
2.Press PAGE [ 
] [ 
] to display Pages
When MODE (p. 61) is set to MONO, you can make settings
individually for each of the six strings of STRING
3.Make the settings with
knobs.
Set the following parameters.
4.If you want to save the edited settings, perform the Write procedure (p. 34).
*If you do not want to save, press [EXIT] to return to the Play screen.
The MIDI channel over which the messages are output in POLY mode is only the basic channel. In MONO mode, the messages are output over the six channels spanning from the basic channel up to the channel numbered five above the basic channel.
64
Chapter 6 Using the
Before Using the USB
Connection
By using USB with the
audio signals and MIDI messages with your computer.
Installing and Setting the USB Driver
Use of the
The dedicated
As the program and procedures used in installing the driver vary according to the operating environment, carefully read the following Readme file contained on the
Windows XP \Driver\XP\Readme_E.htm
Windows Vista \Driver\Vista\Readme_E.htm
What is a USB Driver?
A USB driver is software that acts as a
The USB driver transmits data from the applications to the USB device, and conversely, passes messages from the USB device to the applications.
Application
USB Connector
USB
Driver
USB Cable
Driver Mode
The
Using the specialized driver, you can record, play back, and edit audio with
It also allows you to control the
Dedicated Software for the
Dedicated software that enables you connect and use a computer is available for the
The software for the
Separate versions for Windows and for Macintosh are available.
You can use this to make settings for the
You can also save tone setting (patch) data you have created as files on the computer.
You can manage the
6 Chapter
Computer
65
Chapter 6 Using the
Switching the Driver Mode
1.Press [SYSTEM].
2.Press PAGE [ 
] [ 
] to go to Page 2.
3.Press [F2] (USB).
4.Press PAGE [ 
] to go to Page 2.
5.Set the DRIVER MODE with [F1] (SELECT) or the F1 knob.
Setting the USB Functions
The following section describes the
Setting the Digital Audio Signal
Input and Output
1.Press [SYSTEM].
2.Press PAGE [ 
] to go to Page 2.
3.Press [F2] (USB).
4.Press PAGE [ 
] to go to Page 1.
STNDRD
This mode uses the OS???s standard USB driv- er.
ADVANC
This mode uses the dedicated driver con- tained on the
Parameter/
Range
Explanation
About MIDI in Standard Driver Mode
You cannot use MIDI when STNDRD is selected as the driver mode. If you want to use MIDI with the USB connection, set the
USB IN
This sets the point at which digital audio signals received via USB (from your computer) are connected within the
*Do not connect at a point before the point set with the USB OUT parameter. For more on the connection points, refer to ???Signal Flow??? (p. 15).
*If the USB IN parameter is set to COSM BASS A, COSM BASS B, or NORMAL PU, the setting automatically changes to MAIN & SUB the next time the
66
Chapter 6 Using the
USB OUT
This sets the point internally within the
Setting the Direct Monitor
1.Press [SYSTEM].
2.Press PAGE [ 
] [ 
] to go to Page 2.
3.Press [F2] (USB).
4.Press PAGE [ 
] to go to Page 2.
5.Change the setting???s value with [F2] (SELECT), [F3] (OFF/ON) or the F2, F3 knobs.
For more information on signal paths set by the Direct
Monitor parameter settings, refer to ???Signal Flow??? (p.
15).
6.Press [EXIT] one or more times to return to the Play screen.
6 Chapter
67
Chapter 6 Using the
Parameter/
Recording the
Range
Explanation
Output with a Computer
MON CMD (Monitor Command)
This setting determines whether or not the command (the Direct Monitor command) controlling the Direct Monitor (described later) setting is enabled.
DIRECT MON (Direct Monitor)
Switches the output of the
*This setting cannot be saved. It is set to ON when the power is turned on.
*If you are using the special driver, you can control DIRECT MON On/ Off from ASIO
In the computer application, set the audio input port to the
For example, by selecting COSM BASS A or COSM BASS B, you can listen to the performance with the effects applied, while recording it without the effects.
*If passing audio data through the software you???re using, switch the direct monitor off.
68
Chapter 6 Using the
Using the
In the computer application, set the audio output port to the
Use this process when, for example, you want to add effects to existing audio data.
*Set the software so audio is not passed through it.
1.Press [SYSTEM].
2.Press PAGE [ 
] [ 
] to go to Page 2.
3.Press [F2] (USB).
4.Press PAGE [ 
] to go to Page 1.
5.Use [F1] or the F1 knob to set the point within the VB at which you want the connection to be
made.
Here, set either COSM BASS A, COSM BASS B, or NORMAL
PU.
For more information about the USB IN parameter
settings, refer to ???Setting the Digital Audio Signal
6.Use [F2] or the F2 knob to adjust the level of the digital audio from the USB (computer).
7.Press [EXIT] one or more times to return to the Play screen.
6 Chapter
69
Chapter 7 Other Functions
Changing the Tone in Real Time with the D Beam and Ribbon Controllers
Adjusting the D Beam
(CALIBRATION)
The sensitivity of the D Beam controller can vary depending on the
amount of light in the vicinity of the controller and the object (e.g.,
hand, bass neck) used to operate it. Perform this adjustment so you
can control the tone in the intended range.
1.Press [SYSTEM].
2.Press PAGE [ 
] [ 
] to go to Page 2.
3.Press [F6] (CALIB).
4.Press PAGE [ 
] to go to Page 1.
5.Set the beam???s responsive range as you actually operate the D Beam controller.
???First, hold the object you will use to activate the controller (your hand, bass neck, etc.) at the point farthest from the
???Next, hold the object at the closest point in the range you want the controller to respond, and press [F4] (SetMAX).
6.Press [EXIT] several times to return to the Play screen.
???The D Beam controller???s response may also vary with the stage lighting used. Confirm operation of the controller by testing it onstage under the actual illumination.
???If the set range is too narrow or if the positioning is not suitable, the message ???OUT OF RANGE! SET AGAIN.??? appears. To keep this message from appearing, change the range or position and recalibrate.
???The controller may not function properly with spot lights or other such lighting shining directly on it.
???Be sure to adjust the CALIBRATION directly above the D Beam controller.
OK!
???When the message ???MISSING THE TARGET!??? appears, it indicates that the calibration is not being performed correctly.
???The CALIBRATION setting is a system parameter, so the Write procedure is not required.
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Chapter 7 Other Functions
Disabling the D Beam (DISABLE)
You can disable the D Beam controller for the entire device.
If you are using the
1.Press [SYSTEM].
2.Press PAGE [ 
] [ 
] to go to Page 2.
3.Press [F6] (CALIB).
4.Press PAGE [ 
] to go to Page 1.
The D BEAM CALIB screen appears.
5.Switch the controller on or off with [F6] (OFF/ ON).
6.Press [EXIT] several times to return to the Play screen.
The DISABLE setting is a system parameter, so the Write
procedure is not required.
Controlling Sounds by Hand Motion or the Bass Neck
(D Beam Controller)
The D Beam controller allows you to change the sounds played by moving your hand or bass neck over it. You can apply various effects to the sound by changing the functions assigned to this controller.
Before using the D Beam controller, you need to adjust
its sensitivity ???Adjusting the D Beam
1.Press the D BEAM [PITCH], [FILTER], or [ASSIGNABLE] button to switch the D Beam controller on.
The D Beam controller ON/OFF setting is a patch
parameter. Carry out the Write procedure as required.
For instructions on how to set these functions and tones, please
read ???Using the Switches, Pedals, and MIDI to Control the
Sounds (CONTROL ASSIGN)??? (p. 77).
2.While you play the bass to produce sound, place your hand or bass neck above the D Beam controller and move it slowly up and down.
Use of the D Beam ASSIGNABLE setting also enables
detection horizontally (left to right).
3.The effect is applied to the sound in accordance with the function assigned to the
D Beam controller.
The blue indicator under the D Beam controller lights while the
D Beam effect is being applied.
7 Chapter
71
Chapter 7 Other Functions
4.To turn off the D Beam controller, press the button you pressed in Step 1 again so the indicator goes off.
Effective Range of the D Beam Controller
The D Beam controller???s effective range is shown in the figure
below. Moving your hand outside this effective range produces
no effect.
The effective range of the D Beam controller will be extremely limited when used under strong, direct sunlight. Please be aware of this when using the D Beam controller outdoors.
The sensitivity of the D Beam controller can vary depending on the amount of light in the vicinity of the unit. If it does not function as you expect, adjust the D Beam.(p. 70)
The parameter values set by holding your hand or other object over the D Beam controller change as shown below.
D BEAM horizontal Explanation movements
To the right of the D
Adjusting the Ribbon Controller
(CALIBRATION)
While the ribbon controller has been adjusted at the factory for optimum performance, the responsive range may vary with the width of the finger used to activate the controller.
If this occurs, use the procedure below to readjust the range.
1.Press [SYSTEM].
2.Press PAGE [ 
] [ 
] to go to Page 2.
3.Press [F6] (CALIB).
4.Press PAGE [ 
] to go to Page 2.
The RIBBON CALIB screen appears.
5.Set the responsive range as you actually operate the ribbon controller.
???First, while holding your finger against the near end of the ribbon controller, press [F1] (SetMIN).
???Next, hold your finger against the far end and press [F4] (SetMAX).
If the message ???OUT OF RANGE! SET AGAIN.??? is displayed, carry out the calibration process once more. If the message continues to appear even after the calibration is correctly performed, it may indicate damage or malfunction. Consult your Roland dealer or contact Roland Service.
6.Press [EXIT] several times to return to the Play screen.
Beam
The value approaches the MAX value.
The CALIBRATION setting is a system parameter, so the
To the left of the D
Write procedure is not required.
Beam
The value approaches the MIN value.
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Chapter 7 Other Functions
Controlling the Sounds with the Movement of Your Fingertip (Ribbon Controller)
The ribbon controller allows you to change sounds by ???scratching??? or tracing your finger along the ribbon. You can apply various effects to the sound by changing the functions assigned to this controller.
1.Press the RIBBON CONTROLLER [PITCH], [FILTER], or [ASSIGNABLE] button to switch on the ribbon controller.
For more on how to set functions and tones, please read ???Using
the Switches, Pedals, and MIDI to Control the Sounds
2.While you play the bass to produce sound, move your fingertip along the ribbon controller.
3.The effect is applied to the sound in accordance with the function assigned to the ribbon controller.
4.To turn off the ribbon controller, press the button you pressed in Step 1 again so the indicator goes off.
The setting switching the ribbon controller on and off is
a patch parameter. Carry out the Write procedure as
required.
A light touch is sufficient when operating the ribbon controller. Never press the ribbon controller forcefully or with a hard or pointed object.
Holding Sounds for Extended Periods (FREEZE)
You can press the D BEAM [PITCH] button to use the FREEZE
effect, which allows you to hold sounds indefinitely.
1.Press [CONTROL ASSIGN]
2.Press PAGE [ 
] [ 
] to go to Page 2.
3.Press [F1] (PITCH).
4.Select FREEZE with [F1] (SELECT) or the F1
knob.
The D BEAM FREEZE screen appears.
5.Use [F2] (SELECT) or the F2 knob to select the channel with the sounds you want to freeze.
6.Set each of the FREEZE parameters on Page 1 or Page 2
For more detailed information on the parameters that can be set,
refer to (p. 136).
7.Press [EXIT] several times to return to the Play screen.
8.Press the D BEAM [PITCH] button, causing the indicator to light.
9.Play the bass, and while the sounds are playing, cut across the D Beam with your hand or bass neck.
10.The FREEZE function switches on and the same sound continues to hold, while the D Beam controller???s blue indicator lights up.
11.To switch FREEZE off, swipe your hand or bass neck across the D Beam controller???s beam.
*With D BEAM:FREEZE:SW set as the target in Control Assign, you can control the FREEZE effect ON/OFF using an external
7 Chapter
73
Chapter 7 Other Functions
pedal, MIDI device, or any of a variety of other controllers.
Changing the Pitch as with a Tremolo Arm
You can press the D BEAM or RIBBON CONTROLLER [PITCH] button to use
1.Press [CONTROL ASSIGN]
2.Press PAGE [ 
] [ 
] to go to Page 2 for the D Beam, or Page 3 for the ribbon controller.
3.Press [F1] (PITCH).
4.Press PAGE [ 
] to go to Page 1.
5.Select
knob.
The D BEAM
*This step is not necessary if you are using the ribbon controller. In this case, proceed to Step 5.
6.Use [F2] (SELECT) or the F2 knob in the D Beam screen or [F1] (SELECT) or the F1 knob in the Ribbon Controller screen to select the channel to which you want to apply the effect.
7.Set each of the
For more detailed information on the parameters that can be set,
refer to ???PITCH??? (p. 136), (p. 138).
8.Press [EXIT] several times to return to the Play screen.
9.Press the D BEAM or RIBBON CONTROLLER [PITCH] button, causing the indicator to light.
10.Use the D Beam or ribbon controller like a tremolo arm to change the pitch.
*With D
74
Chapter 7 Other Functions
Adding Nuance to the Sound (FILTER)
You can press the D BEAM or RIBBON CONTROLLER [FILTER] button to apply the FILTER effect and add nuance to the tone in Channel A or B, or both channels.
1.Press [CONTROL ASSIGN]
2.Press PAGE [ 
] [ 
] to go to Page 2 for the D Beam, or Page 3 for the ribbon controller.
3.Press [F2] (FILTER).
4.Press PAGE [ 
] to go to Page 1.
The D BEAM FILTER or the RIBBON FILTER screen appears.
5.Use [F1] (SELECT) or the F1 knob to select the channel to which you want the effect to be applied.
6.Set each of the FILTER parameters on Page 1.
For more detailed information on the parameters that can be set,
refer to ???FILTER??? (p. 137), (p. 138).
7.Press [EXIT] several times to return to the Play screen.
8.Press the D BEAM or RIBBON CONTROLLER [FILTER] button, causing the indicator to light.
9.Use the D Beam or ribbon controller to apply the filter and add nuance to the sound.
*With D BEAM:FILTER:SW or RIBBON:FILTER:SW and D BEAM:FILTER:CONTROL and RIBBON:FILTER:CONTROL set as the target in Control Assign, you can control FILTER:CONTROL using an external pedal, MIDI device, or any of a variety of other controllers.
7 Chapter
75
Chapter 7 Other Functions
Changing the Sounds with the Function Knobs as You Play (DIRECT EDIT)
You can assign parameters to the
parameters as you play.
Additionally, you can check (display) the assigned parameters by
pressing
*Set the DIRECT EDIT parameter (p. 148) settings to PATCH.
1.Press [CONTROL ASSIGN]
2.Press PAGE [ 
] to go to the last page.
3.Press [F6]
screen.
The DIRECT EDIT screen appears.
4.Press Page [ 
] [ 
] to go to the page for the knob you want to set.
5.Use the
You can quickly locate and select the desired parameter by first narrowing down the parameter type with F1 (F4), then using F2 (F5) and then F3 (F6) to reach the right parameter.
6.If you want to save the edited settings, perform the Write procedure (p. 34).
*If not saving the settings, press [EXIT] to return to the Play screen.
When Messages Are Displayed
These appear because the DIRECT EDIT parameter is set to
SYSTEM.
This means that the settings in the DIRECT EDIT screen, which are the patch parameters, have no effect.
To enable the settings, the DIRECT EDIT parameter in the CONTROL screen for SYSTEM must be set to PATCH. For detailed information, refer to ???Making
for the Features Controlled by the Function Knobs
(SYSTEM DIRECT EDIT)??? (p. 43).
To dismiss this message, press [EXIT].
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Chapter 7 Other Functions
Using the Switches, Pedals, and MIDI to Control the Sounds (CONTROL ASSIGN)
These settings are made when parameters are to be controlled with the
In addition to settings already assigned to controllers, the
*If you intend to control the parameters of effects and the like, be sure to set the effect to ON beforehand.
*For more detailed information on the parameters, refer to
???CONTROL ASSIGN??? (p. 135),
*Enabling the settings requires setting each of the controller assignments to ASSIGNABLE in the SYSTEM CONTROL ASSIGN screen. For detailed information, refer to ???Setting the GK VOLUME
Control and Switch and the Pedal Function (SYSTEM CONTROL ASSIGN)??? (p. 42).
1.Press [CONTROL ASSIGN]
2.Select the controller you want to set with
PAGE [ 
] [ 
] and
The various controllers??? setting screens appear.
*The following section describes the controllers you can set.
77
Chapter 7 Other Functions
3.Select the function you want to assign with
PAGE [ 
] [ 
],
You can assign two different functions to one controller. For example, you can assign separate functions to the GK VOL (1) and GK VOL (2) displayed in the screen.
For more on PITCH and FILTER of the D BEAM controller,
refer to ???Controlling Sounds by Hand Motion or the Bass
Neck (D Beam Controller)??? (p. 71). For more on PITCH and
FILTER of the Ribbon controller, refer to ???Controlling the
78
Chapter 7 Other Functions
The following section describes the parameters you can set on each page.
*The screen shown in the example is for ASSIGN1.
Page 1, 3
F1: SOURCE
This selects the controller assigned to the function.
F3: SW (ON/OFF)
Setting this to ON enables the controller.
Use these to select the parameter you want to assign.
You can quickly locate and select the desired parameter by first
narrowing down the parameter type with F4, then using F5 and
then F6 to reach the right parameter.
For more details on the parameters, refer to ???CONTROL
Page 2, 4
F2: MIN
This sets the minimum value for the target???s controllable range.
F3: MAX
This sets the maximum value for the target???s controllable range.
F4: SW MODE (only when a switch type controller is selected for
SOURCE)
This specifies how the switches function.
Available Settings Explanation
F4: MODE (GK S1, S2 only)
This specifies how the switches function.
*Combinations of the actions below are possible. S1: DEC / S2: INC
S1: INC / S2: DEC
S1: MIN / S2: MAX
S1: MAX / S2: MIN
F5: RANGE LOW (only when an expression pedal or other controller that changes values in a continuous,
This sets the minimum for the range in which the value of the setting can be changed.
F6: RANGE HIGH (only when an expression pedal or other controller that changes values in a continuous,
This sets the maximum for the range in which the value of the setting can be changed.
7 Chapter
MOMENT
The parameter switches to the maximum value only while the switch is held down, and switches to the minimum value when the switch is released.
The value alternately switches between LATCHmaximum and minimum each time the
switch is pressed.
79
Chapter 7 Other Functions
About the Range of Targets??? Change
The target???s value changes between MIN (the minimum value) and MAX (the maximum value).
When a foot switch or other controller that switches settings on and off is used, OFF sets the minimum value and ON sets the maximum value.
Value
Footswitch
When an expression pedal or other controller that changes values in a consecutive manner is used, the value changes within the range between MIN and MAX.
EXP Pedal
When an expression pedal or other controller that changes values in a consecutive manner is used to control a
Value
ON
About the Range of Controllers??? Change
This sets the operational range (range in which the value actually changes) for an expression pedal, or similar controller that changes the value of a setting in a continuous fashion, when it has been set as the source.
If the controller adjustment moves beyond the enabled range of operation, the value of the setting remains at the maximum value or minimum value, without changing any further.
4.If you want to save the edited settings, perform the Write procedure (p. 34).
*If you do not want to save, press [EXIT] to return to the Play screen.
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Chapter 7 Other Functions
Activating the Virtual Expression
Pedal at the Start of Operations
(Internal Pedal System)
The
The Internal Pedal system features the following two functions, allowing you to set Source for each assign
???Internal Pedal
???Wave Pedal
*When the Internal Pedal or the Wave Pedal is used, set the ASSIGN SW MODE to MOMENT.
Internal Pedal
With the trigger you have set, the assumed expression pedal starts working. If you have set INTERNAL PEDAL to SOURCE, set the TRIGGR parameter (p. 141).
For more detailed information on the parameters that can be set using INTERNAL PEDAL, refer to ???TRIGGR (Trigger)??? (p. 141), ???TIME??? (p. 141), and ???CURVE??? (p. 141).
Wave Pedal
This changes the parameter selected as a target in a certain cycle with the assumed expression pedal. When you have set WAVE PEDAL for SOURCE, the RATE parameter (p. 141) and FORM parameter (p.
141)should be set.
For more detailed information on the parameters that can be set using WAVE PEDAL, refer to ???RATE??? (p. 141) and ???FORM??? (p. 141).
One Touch Call Up of Favorite
Patches (DIRECT PATCH)
You can assign your favorite patches to the [DIRECT PATCH 1] ??? [DIRECT PATCH 5] buttons, then call up these patches just by pressing the buttons.
Setting DIRECT PATCH
1.Press [SYSTEM].
2.Press PAGE [ 
] to go to Page 1.
3.Press [F2] (DIRECT).
The DIRECT PATCH screen appears.
4.Use the
[DIRECT PATCH 5].
The numbers correspond, with DIR. PATCH 1 assigned with
the F1 knob, DIR. PATCH 2 assigned with the F2 knob, and so
on.
5. Press [EXIT] several times to return to the Play
screen. Chapter7
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Chapter 7 Other Functions
Managing the Patches
Saving and Copying Patches
(PATCH WRITE)
To save any changes you???ve made in the settings, you need to perform the write procedure.
To make a copy of an existing patch, you can simply write it to another patch location.
1.Press [WRITE].
The PATCH WRITE screen appears.
???WRITE TO??? is displayed, and the
2.Use the PATCH/VALUE dial to select the copy- destination patch.
3.Press [WRITE] again.
The message ???NOW WRITING...??? is displayed as the patch is copied, and the
*If you are not saving the settings, press [EXIT] to return to the Play screen.
Exchanging the Current Patch with a Different Patch (PATCH
EXCHANGE)
This exchanges the user patch with the different patch.
*You cannot exchange tones in preset patches.
1.Confirm that a User patch is selected.
2.Press [WRITE].
3.Press PAGE [ 
] to go to Page 2.
???EXCHANGE??? is displayed.
The
indicated.
4.Use the PATCH/VALUE dial to select the
5.Press [WRITE] again.
The message ???NOW EXCHANGING...??? is displayed as the current patch and the selected patch are exchanged, and the VB- 99 changes to the
*If you do not want to exchange the patches, press [EXIT] to return to the Play screen.
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Chapter 7 Other Functions
Initializing User Patches
(PATCH INITIALIZE)
You can set user patches to their initial conditions, with all effects switched off.
This is convenient when you want to create a patch from scratch.
*You cannot initialize preset patches.
1.Confirm that a User patch is selected.
2.Press [WRITE].
3.Press PAGE [ 
] to go to Page 3.
The PATCH INITIALIZE screen appears.
???INITIALIZE??? is displayed, and the number and name of the patch to be initialized are indicated.
4.Use the PATCH/VALUE dial to select the patch you want to initialize.
5.Press [WRITE] again.
The message ???NOW INITIALIZING...??? is displayed as the VB- 99 switches to the patch to be initialized, then the Play screen returns.
*If you do not want to initialize the patch, press [EXIT] to return to the Play screen.
Copying Settings Between Channel
A and Channel B (A/B COPY)
1.Go to the settings screen for the parameters whose settings you want to copy.
2.Press PAGE [ 
] several times to go to the last page.
3.Use [F1] (SELECT) or the F1 knob to select A/B COPY.
4.Press [F6] (EXEC) to copy the settings.
5.If you want to save the edited settings,
perform the Write procedure (p. 34).
*If you do not want to save, press [EXIT] to return to the Play screen.
Exchanging the Channel A and
Channel B Settings
(A/B EXCHANGE)
4.Press [F6] (EXEC) to exchange the settings.
5.If you want to save the edited settings,
perform the Write procedure (p. 34).
*If you do not want to save, press [EXIT] to return to the Play screen.
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Chapter 7 Other Functions
Partially Copying Parameters in
a Different Patch (MODULE COPY)
You can copy and reuse portions of patch parameters (such as
COSM amps, effects, and other modules).
1.Go to the settings screen for the parameters whose settings you want to copy.
2.Press PAGE [ 
] several times to go to the last page.
3.Use [F1] (SELECT) or the F1 knob to select
MODULE COPY.
The MODULE COPY screen appears.
4.Use [F2] (PATCH) or the F2 knob and [F3] (SOURCE) or the F3 knob to select the copy source.
5.Press [F6] (EXEC) to copy the settings.
6.If you want to save the edited settings,
perform the Write procedure (p. 34).
*If you do not want to save, press [EXIT] to return to the Play screen.
Partially Initializing Patch
Parameters (MODULE INITIALIZE)
1.Go to the settings screen for the parameter whose settings you want to initialize.
2.Press PAGE [ 
] several times to go to the last page.
3.Use [F1] (SELECT) or the F1 knob to select
MODULE INIT.
The MODULE INITIALIZE screen appears.
4.Press [F6] (EXEC) to initialize the settings.
5.If you want to save the edited settings,
perform the Write procedure (p. 34).
*If you do not want to save, press [EXIT] to return to the Play screen.
The following parameters can be handled as modules.
???COSM BASS
???POLY FX
???Overall FX for Channel A and B
???Each of the effects in FX
???COSM AMP
???MIXER section DELAY and REVERB
???MIXER section DYNAMIC
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Chapter 7 Other Functions
Separating Patches into Groups (CATEGORY)
The
Using CATEGORY to Call Up Patches
1.Confirm that the Play screen is displayed.
2.Press [CATEGORY].
The Category screen appears.
The categories and the patches in these categories are shown in list format.
3.Use [F1] (SEL
) and [F2] (SEL 
) or the F1 and F2 knobs to select the category.
4.Use the PATCH/VALUE dial or [F3] (SEL
), [F4] (SEL 
) to select a patch.
5.Press [CATEGORY] again.
The
If no operation if performed within a set period of time,
the display returns to the Play screen.
Assigning a Patch to a Category
You can assign categories to patches and separate them into groups.
1.From the PLAY screen, use the PATCH/VALUE dial to select the patch you want to include in a category.
2.Press [NAME/KEY/BPM].
3.Press [F1] (NAME).
The Name settings screen appears.
4.Press [F6] (CATGRY).
The Category settings popup appears.
5.Use the F6 knob to select the category.
6.Press [EXIT].
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Chapter 7 Other Functions
Naming User Categories
(CATEGORY NAME)
1.Press [SYSTEM].
2.Press PAGE [ 
] [ 
] to go to Page 2.
3.Press [F5] (CATGRY).
The Category Name settings screen appears.
4.Use [F6] or the F6 knob to select User Category with the name you want to change.
5.Press PAGE [ 
] [ 
] to move the cursor to the position with the character you want to change.
6.Select the character with the PATCH/VALUE
dial.
As you continue to rotate the PATCH/VALUE dial, the character guide automatically switches from uppercase letters to lowercase letters, numerals, and symbols.
You can carry out the following operations by pressing [F1]??? [F6].
7.Repeat Steps 6 and 7 to complete the category name.
8.Press [EXIT] several times to return to the Play
screen.
*Category names are system parameters. They are saved at the time they are entered, even without the Write procedure.
Storing Your Preferred
Settings Individually
(FAVORITE SETTINGS)
What are Favorite Settings?
The
By storing the settings you like for each of a variety of effects processors, you can then easily create sounds simply by combining these settings.
Furthermore, creating patches using the Favorite Settings vastly simplifies editing when multiple similar tones are used.
For example, if you beforehand select the same Favorite Settings for a multiple number of patches, you???ll later be able to implement changes in all those patches at once simply by editing the Favorite settings.
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Chapter 7 Other Functions
Calling Up Favorite Settings
Here is an example using the compressor effect.
1.Press [FX].
2.Press PAGE [ 
] to go to Page 1.
3.Press [F1] (COMP).
4.Press PAGE [ 
] to display the last page (in this case, Page 3).
5.Use [F1] (SELECT) or the F1 knob to select
FAVORITE.
The FAVORITE screen appears.
6.Use [F2] (SELECT) or the F2 knob to select your preferred setting.
7.When you have made your choice, press [F6] (OK); to cancel the procedure, press [F5] (CANCEL) or press [EXIT] several times to return to the Play screen.
8.If you want to save the edited settings, perform the Write procedure (p. 34).
*If you do not want to save, press [EXIT] to return to the Play screen.
Changing Tone Settings
This procedure changes the tones in patches using the Favorite Settings. The method below can also be used to edit the Favorite Settings themselves.
Here is an example using the compressor effect.
1.Press [FX].
2.Press PAGE [ 
] to go to Page 1.
3.Press [F1] (COMP).
The number and name of the currently selected Favorite
Settings are displayed.
4.Press [F6] (EDIT).
5. Use
the steps described next.
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Chapter 7 Other Functions
Saving Changed Tones
There are two methods you can use to save changed tones.
Saving to Patches
1.Press [WRITE].
The PATCH WRITE screen appears.
2.Use the PATCH/VALUE dial to select the save- destination patch.
3.Press [WRITE].
???NOW WRITING...??? is displayed as the patch is being saved, and then the Play screen returns to the display.
Saving tones with this process undoes the link between the patch and the Favorite Settings. Afterwards, any changes to tones with Favorite Settings used earlier will not be reflected in the tone for this patch.
Saving to the Favorite Settings
The following describes an example with the status indicated in the
Compressor edit screen in Step 4 of ???Changing Tone Settings??? (p.
87).
1.Press PAGE [ 
] to display the last page (in this case, Page 3).
2.Rotate the F1 (SELECT) knob to select
FAVORITE WRITE.
The FAV WRITE screen appears.
3.Rotate the F2 (SELECT) knob to select the write destination.
At this point, you can press [F3] (SEARCH) to display a list of patches using the
???Searching for Patches That Use the Same Favorite
4.Press [F6] (WRITE) to save the settings.
???NOW WRITING...??? is displayed as the Favorite Settings are being saved, and the number and name of the currently selected Favorite Settings are displayed.
5.Press [EXIT] several times to return to the Play screen.
This procedure only saves information to the Favorite Settings. Nothing is saved to the patches. To save parameters to patches, carry out the Write procedure. (p. 34)
88
Chapter 7 Other Functions
Naming Favorite Settings
(FAVORITE NAME)
When storing Favorite Settings, you can also give the settings names.
Carry out the following procedure in Step 2 of ???Saving to the
1.Press [F5] (NAME).
The Name edit screen appears.
2.Press PAGE [ 
] [ 
] to move the cursor to the position with the character you want to enter.
3.Select the character with the PATCH/VALUE
dial.
As you continue to rotate the PATCH/VALUE dial, the character guide automatically switches from uppercase letters to lowercase letters, numerals, and symbols.
You can carry out the following operations by pressing [F1]??? [F5].
4.Repeat Steps 2 and 3 to complete the Favorite Setting name.
5.When you have finished editing the name,
press [EXIT].
The Favorite Settings save screen returns to the display.
6.Press [F6] (WRITE); the settings are saved.
7.Press [EXIT] several times to return to the Play screen.
Searching for Patches That Use the Same Favorite Settings
Here is an example using the compressor effect.
1.Press [FX].
2.Press PAGE [ 
] to go to Page 1.
3.Press [F1] (COMP).
The number and name of the currently selected Favorite Settings are displayed.
If not using the Favorite Settings, proceed to Step 4.
4.Press [F6] (EDIT).
5.Press PAGE [ 
] to display the last page (in this case, Page 3).
6.Use [F1] (SELECT) or the F1 knob to select
FAVORITE WRITE.
The FAV WRITE screen appears.
7.Rotate F2 (SELECT) to select the Favorite Settings you want to search for.
7 Chapter
89
Chapter 7 Other Functions
8.Press [F3] (SEARCH).
A list of patches using the selected Favorite Setting is displayed.
9.You can scroll through the list using [F3] and [F4] or the F3 and F4 knobs.
10.Press [F5] (EXIT).
The list disappears from the screen.
11.Press [EXIT] several times to return to the Play screen.
Controlling Video Images with Your Bass
The
With the
What is
Connecting
For example, combining the
.tokyo performance package lets you do the following.
???Set the required information for motion dive .tokyo performance package performances.
???Switch motion dive .tokyo performance package video images (palettes/clips) and control the video brightness and hue.
???Enjoy synchronized performances of music and video.
Be sure also to read the owner???s manual for the connected
Connecting the
Connect the
When connecting these and other devices, turn down the volume completely on all the devices and turn off their power before connecting to prevent malfunction and damage to speakers and other equipment.
MIDI IN
MIDI OUT
90
Chapter 7 Other Functions
Switching
1.Connect the
2.Turn on the power to the device to start it up.
3.Press
The function set in ???Setting
Even with
Depending on the settings in ???MIDI ROUTING??? (p. 53), signals may not be output from MIDI OUT. In such cases,
4.Press
The
switched off.
When the
related MIDI messages are no longer output.
Setting
Making the Palette and Clip Settings (PALETTE/CLIP)
This sets the Program Change messages transmitted when patches
are switched.
You can set different Program Changes in Channel A and Channel B.
1.Press [SYSTEM].
2.Press PAGE [ 
] [ 
] to go to Page 2.
3.Press [F4]
The
4.Press [F1] (CLIP).
The PATCH/CLIP screen appears.
5.Use [F1] and [F2] or the F1 or F2 knobs to set the palette and clip for
Setting the String Channel (STRING CH)
This setting determines which of the
1.Follow Steps
2.Press [F4] (STR CH) to select the channel to be controlled with each string.
Some
Note messages output with the
Synthesizer Sound Module (BASS TO MIDI)??? (p. 58) as
well as the STRING CH settings.
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Chapter 7 Other Functions
Setting the Assign
These settings are necessary for controlling video using the bass???s performance data and messages from the
1.Follow Steps
2.Press [F2] (ASGN1) or [F3] (ASGN2) to select Assign 1 or Assign 2.
3.Use [F1] (SELECT) or the F1 knob to set the source to be used in operating the target.
4.Use [F2] (SELECT) or the F2 knob to set the target.
For more on the source and target parameters, refer to
5.Rotate the F3 knob to set the minimum value for the TARGET parameter???s control range.
6.Rotate the F4 knob to set the maximum value for the TARGET parameter???s control range.
7.If you want to save the edited settings,
perform the Write procedure (p. 34).
*If you do not want to save, press [EXIT] to return to the Play screen.
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Chapter 7 Other Functions
Using the
You can use the
1.Turn the
2.Attach the mounting plate as shown in the figure, using the screws removed in Step 1 or the knob nuts included with the kit.
3.Attach the
For instructions on how to assemble the
928, 929
???To prevent the
Cable tie
???Use the screws (M5 x 10) included with the
???When turning the unit over, place some newspapers, magazines, or other such material under the four corners or at both ends to prevent damage to the buttons, dials, and other controls. Also, try to orient the unit so no buttons or controls are damaged.
???When turning the unit
???When removing the screws, be sure to keep them out of the reach of children to prevent smaller children from accidentally swallowing them.
???Take care not to allow hands and fingers to become pinched when attaching and removing the units.
7 Chapter
93
Chapter 7 Other Functions
Using the
a Rack
By employing the separately available
you can use the
1.Turn the
2.Attach the
3.Mount the
Use screws (in four places) to securely affix the unit to the rack.
*Use the screws included with the rack.
For instructions on how to assemble the
adjust the angle of attachment, refer to the
Owner???s Manual.
928, 929
???Use the screws (M5 x 10) included with the
???When turning the unit over, place some newspapers, magazines, or other such material under the four corners or at both ends to prevent damage to the buttons, dials, and other controls. Also, try to orient the unit so no buttons or controls are damaged.
???When turning the unit
???When removing the screws, be sure to keep them out of the reach of children to prevent smaller children from accidentally swallowing them.
???Take care not to allow hands and fingers to become pinched when attaching and removing the units.
94
Restoring the
(FACTORY RESET)
1.Press [SYSTEM].
2.Press PAGE [ 
] to display Page 3.
3.Press [F2] (F.RST).
The FACTORY RESET screen appears.
4.Select the parameters you want to restore to the original factory condition.
5.Press [F6] (EXEC).
6.To execute Factory Reset, press [WRITE].
*To cancel Factory Reset, press [EXIT].
When Factory Reset is completed, the display returns to the Play screen.
Chapter 7 Other Functions
7 Chapter
95
Chapter 8 Parameters Guide
In this chapter you???ll find detailed descriptions for each of the
The trademarks listed in this document are trademarks of their respective owners, which are separate companies from Roland. Those companies are not affiliated with Roland and have not licensed or authorized Roland???s
Their marks are used solely to identify the equipment whose sound is simulated by Roland???s
COSM BASS
The COSM BASS section provides a rich array of settings that allow you to produce an enormous variety of instrument tones. In addition to traditional bass
Parameter/
Range
Explanation
COSM BASS SW
Turns the COSM bass on/off.
COSM bass configuration
DIVIDED PU
NORMAL PU
COSM BASS
SW
Modeling Type List
E. BASS TYPE (Electric Bass Type)
96
SYNTH TYPE (Synthesizer Type)
E.GTR TYPE (Electric Guitar Type)
8 Chapter
97
E.BASS (Electric Bass)
Parameters for the various electric bass models.
VINT
VINT PB/PB
RICK
ACTIVE
98
VIOLIN
VARI
REAR PU (Rear Pickup),
FRONT PU (Front Pickup)
TYPE
Specify the type of pickup.
PHASE
Specify the phase of the pickup when mixing the front and rear pick- ups.
*1 Setting available with CTL TYPE set to 2V2T or 2V1T. *2 Setting available with CTL TYPE set to BAL or 2BAND. *3 Setting available with CTL TYPE set to 2V2T.
*4 Setting available with CTL TYPE set to 2V1T or BAL. *5 Setting available with CTL TYPE set to 2BAND.
8 Chapter
99
AC BASS (Acoustic Bass)
Parameters for the acoustic bass model.
SYNTH (Synthesizer)
Parameters for the synthesizer sound.
ANALOG GR
Parameter/
Range
Explanation
MASTER LEVEL
MODE
This setting determines whether the
CUTOFF FREQ (Cutoff Frequency)
ENV MOD (Envelope Modulation)
This automatically changes the VCF cutoff frequency according to the amplitude of the string vibration. This allows you to change the tone with a
SW
100
Parameter/
Range
Explanation
PITCH A/PITCH A FINE,
PITCH B/PITCH B FINE
These parameters adjust the amount of pitch shift.
*This is enabled when the PITCH SW parameter is set to anything other than OFF.
*The final amount of shift in the pitch is the sum of the pitch shift set with PITCH and PITCH FINE.
PITCH SW
This setting allows you to switch on and off the pitch shift, which en- ables the pitch of the
*PITCH SHIFT is applied only to the
SWEEP
This SWEEP function smoothly changes the amount of pitch shift when the amount of pitch shift is changed with PITCH SW.
SW
You can apply an electronic vibrato effect to the
SW
*When ANALOG GR has been selected for COSM BASS, using SHIFT, HARMO, or BEND to make settings that shift the pitch in an extreme way may make sound generation unstable.
8 Chapter
101
WAVE SYNTH
OSC SYNTH
102
SUB OSC
Adds depth to the sound by layering a synth sound onto each string.
FILTER
BOWED/PIPE
POWER BEND
A higher setting results in a darker sound. At the same time, the tone and volume also change with respect to fluctuations in pitch pro- duced by vibrato or other techniques.
8 Chapter
103
CRYSTL
ORGAN
BRASS
104
E.GTR (Electric Guitar)
Parameters for the electric guitar models.
ST
LP
COSM BASS Common
Parameters
Besides the other COSM BASS parameters, the
EQ
A
8 Chapter
105
PITCH
SHIFT MODE (Pitch Shift Mode)
Selects the operation of pitch shift.
This KEY parameter is the same as the Key setting in the [NAME/KEY/BPM] section (p. 142) and FX MOD1, 2 HARMONIST.
Altering either one changes the key.
HARMO (Harmony) *1
SHIFT HiC,
*2 Setting available with SHIFT MODE set to SHIFT.
*3 Setting available with HARMO set to USER.
*4 Setting available when MODLNG TYPE for COSM BASS is set to E.BASS, AC BASS, or SYNTH.
*5 Setting available when MODLNG TYPE for COSM BASS is set to E.GTR.
*When ANALOG GR has been selected for COSM BASS, using SHIFT, HARMO, or BEND to make settings that shift the pitch in an extreme way may make sound generation unstable.
Creating Harmony Scales (User Harmony)
When HARMO is set to any value from
1.Set HARMO to USER in the Harmony screen.
2.Press PAGE [ 
] .
The User Harmony screen appears.
3.Use PAGE [ 
] [ 
],
106
MIX
Parameter/
Range
Explanation
STRING PAN HiC,
STRING LEVEL HiC,
NS (Noise Suppressor) *1
This effect reduces the noise and hum picked up by bass pickups. Since it suppresses the noise in synchronization with the envelope of the bass sound (the way in which the bass sound decays over time), it has very little effect on the overall sound, and does not harm its the natural character.
SW (Noise Suppressor Switch)
*1 Setting available when MODLNG TYPE for COSM BASS is set to E.BASS, AC BASS, or E.GTR.
8 Chapter
107
POLY FX (Poly Effect)
Parameter/
POLY LIMITR (Poly Limiter)
Range
Explanation
POLYFX SW (Poly Effect Switch)
TYPE
This lets you apply an independent limiter for each string. The limiter suppresses the volume of sounds that exceed the threshold setting.
POLY COMP
POLY LIMITR
POLY DEFRET
POLY DIST
POLY EQ
POLY OCTAVE
POLY RING
POLY SG
STRING MODLNG
Select the poly effect type.
*The parameters that can be set differ with each type. Refer to each of the parameters cited later.
POLYFX CH (Poly Effect Channel)
POLY COMP (Poly Compressor)
The Poly Compressor attenuates loud input levels and boosts soft input levels, thus evening out the volume to create sustain without distortion. With the Poly Compressor, compression is applied separately to each string.
Parameter/
Range
Explanation
COMP SUSTAIN HiC,
COMP ATTACK HiC,
COMP TONE HiC,
COMP LEVEL HiC,
108
POLY DEFRET (Poly Defretter)
This changes the sound of a fretted bass guitar to make it resemble a fretless bass guitar.
POLY DIST (Poly Distortion)
You can individually distort the sound of each string to get a sound that can be played chordally without breaking up.
POLY EQ (Poly Equalizer)
Each string is provided with its own
LOW MID FREQ HiC,
LOW MID Q HiC,
LOW MID GAIN HiC,
HIGH MID FREQ HiC,
HIGH MID Q HiC,
HIGH MID GAIN HiC,
8 Chapter
109
POLY OCTAVE (Poly Octave)
This supports playing technique related to octaves.
POLY RING
(Poly Ring Modulator)
This enables you to mix the internal oscillator with the input sound and apply a ring modulator independently for each string, creating a sound with pitchless metallic reverberations.
Parameter/
POLY SG (Poly Slow Gear)
This creates a
STRING MODLNG
(String Modeling)
This converts the sound of a bass guitar strung with
Range
Explanation
strings to the sound of a bass with flat wound or black nylon strings. COSM BASS settings other than E.BASS may not produce the expect-
MODE
This selects the operation of the ring modulator.
This effect makes the effect sound of the ring modulator more extreme.
DRIVE
ed results.
110
FX (Effects)
COMP (Compressor)
This is an effect that attenuates loud input levels and boosts soft input levels, thus evening out the volume to create sustain without distortion. Many different types of compression are provided, including digital models of vintage compressors, as well as limiters that suppress only the sound peaks.
111
OD/DS (Overdrive/Distortion)
This effect distorts the sound to create long sustain.
12 different types of overdrive/distortion are provided.
TYPE
Selects the type of distortion.
EQ (Equalizer)
The EQ is a powerful
112
DELAY
This effect adds delayed sound to the direct sound, great for adding more body to the sound or for creating special effects.
in a range from 1 ms to 900 ms.
*For more detail the operation, refer to ???Using the HOLD (Hold Delay)??? (p. 115).
*If you switch patches with the TYPE set to either
*The stereo effect is cancelled if a monaural effect or COSM amp is connected after a stereo delay effect.
DELAY Common Parameters
When set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
*After setting DELAY TIME to BPM ( 
??? 
), if you tap [F1] (TAP), the BPM value will change to match the timing of your tapping.
*1 The DELAY TIME, FEEDBACK, HIGH CUT, and EFFECT LEVEL are not enabled when the TYPE is set to
8 Chapter
RISE TIME
113
PAN
When set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
*After setting DELAY TIME to BPM ( 
??? 
), if you tap [F1] (TAP), the BPM value will change to match the timing of your tapping.
DELAY1 FEEDBACK
WARP
MOD
114
Using the HOLD (Hold Delay)
*Recording and playback of performances and other operations are carried out with pedals while Hold is in effect. Connect external pedals (footswitches) or an
1.Referring to ???Using the Switches, Pedals, and MIDI to Control the Sounds (CONTROL ASSIGN)??? (p. 77), assign the following functions to the connected external pedals (footswitches) or
2.Set TYPE to HOLD in the Delay screen.
3.Press the pedal to which REC is assigned.
Recording starts when you press the pedal.
4.Press the pedal to which REC is assigned again to stop recording.
*The maximum recording time is 10 seconds. If the recording time exceeds 10 seconds, the recording stops automatically, and the recorded content is then played back.
*An oscillating sound may be audible with extremely short recording times.
5.When layering recordings, repeat Steps 4 and 5.
*The recorded content is cleared when the TYPE or patch is switched to a different setting or when the power is turned off.
6.To return to recording standby, press the pedal to which STOP is assigned.
The unit returns to recording standby.
*When playback is stopped, the recorded content is erased.
*You can also set REC SW MODE to MOMENT.
If you use this setting, be sure to keep the pedal held down during recording.
CHORUS
In this effect, a slightly detuned sound is added to the original sound to add depth and breadth.
CHORUS MODE
Selection for the chorus mode.
When set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
DEPTH
8 Chapter
115
MOD1, MOD2
For MOD1 and MOD2, you can choose one of the following effect types. (If desired, you can select the same effect for both MOD1 and
PHASER
By adding
Parameter/
MOD2.)
MOD TYPE
Range
TYPE
Explanation
Selects the number of stages that the phaser effect will use.
When set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
116
FLANGER
The flanging effect gives a twisting,
When set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
DEPTH
TREML (Tremolo)
Tremolo is an effect that creates a cyclic change in volume.
When set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
DEPTH
PAN
This is a stereo effect that pans the sound alternately between the left and right outputs, making the sound fly back and forth between the speakers.
When set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
DEPTH
*The pan effect is cancelled if a monaural effect or COSM amp is connected after the COSM bass.
8 Chapter
117
PEDAL WAH
This is a wah effect that you control in real time by adjusting the EXP pedal connected to the EXP PEDAL jack or an
T.WAH (Touch Wah)
This is an automatic wah effect where the filter changes in response to the bass level.
POLARITY
Selects the direction in which the filter will change in response to the input.
PEAK
Higher values will produce a stronger tone which emphasizes the wah effect more.
118
AUTO WAH
This filters the sound over a periodic cycle, providing an automatic wah effect.
Parameter/
This models a Musitronics
Range
Explanation
The original used monaural input and output, but on the
MODE
Selects the wah mode.
Parameter/
Range
Explanation
When set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
DEPTH
MODE
This chooses the type of filter.
DRIVE
This chooses the direction of filter movement during the attack.
8 Chapter
119
OCTAVE
This adds a note one octave lower, creating a richer sound.
*Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played.
PITCH SHIFT (Pitch Shifter)
This effect changes the pitch of the original sound (up or down) within a range of two octaves.
Parameter/
Range
Explanation
VOICE
Selects the number of voices for the pitch shift sound.
PITCH SHIFT1, PITCH SHIFT2
MODE1, MODE2 *1
Selection for the pitch shifter mode.
PITCH 1, PITCH2 *1
When set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
FEEDBACK1
*1 With VOICE set to 2MONO or 2ST, you can select two sounds.
120
HARMONIST
Harmonist is a
*Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played.
*You cannot use the Harmonist effect with audio input via USB IN.
This KEY parameter is the same as the Key setting in the [NAME/KEY/BPM] section (p. 142) and FX MOD1, 2 HARMONIST. Altering either one changes the key.
The key setting corresponds to the key of the song (#, b) as follows.
VOICE
Selects the number of voices for the pitch shift sound.
1VOICEOne-voice
HARMONY1, HARMONY2 *1
HARM1, HARM2 (Harmony) *1
This determines the pitch of the sound added to the input sound, when you are making a harmony.
When set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
LEVEL1, LEVEL2 *1
*2 VOICE1 INTERVAL (VOICE2 INTERVAL) is enabled when HARM1 (HARM2) is set to USER.
Creating Harmonist Scales
(Voice Interval)
When HARM is set to any value from
1.Set HARM1 (or HARM2) to USER in the Harmonist screen.
2.Select VOICE1 INTERVAL (or VOICE2 INTERVAL) with PAGE [ 
].
The Voice Interval screen appears.
3.Use PAGE [ 
] [ 
],
8 Chapter
121
PEDAL BEND
This lets you use a pedal to get a pitch bend effect.
*Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played.
2x2 CHORUS
Frequency band division is employed to produce two different choruses, one for low frequencies and one for higher frequencies, for both the left and right channels (for a total of four). This allows you to achieve a natural chorus sound.
Parameter/
100
LOW RATE
BPM 
When set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
LOW DEPTH
LOW PREDLY (Low Pre Delay)
0.0
LOW LEVEL
HIGH RATE
BPM 
When set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
HIGH DEPTH
122
ROTARY
This produces an effect like the sound of a rotary speaker.
When the Rate (SLOW) or Rate (FAST) set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) spec- ified for each patch. This makes it easier to achieve effect sound set- tings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
RISE TIME
This models the sound of the
Although the same type of effect as a phaser, its characteristic feature is a unique twisting effect, which you can???t get from an ordinary phaser.
When set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
DEPTH
VIB (Vibrato)
This effect creates vibrato by slightly modulating the pitch.
When set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) specified for each patch. This makes it eas- ier to achieve effect sound settings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
DEPTH
SLICER
This consecutively interrupts the sound to create the impression that a rhythm backing phrase is being played.
Parameter/
Range
PATTERN
RATE
BPM 
When set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) specified for each patch. This makes it eas- ier to achieve effect sound settings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
TRIG SENS (Trigger Sensitivity)
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HUMANIZER
This creates human
Parameter/
SLOW GEAR
This produces a
Range
Explanation
MODE
This sets the mode that switches the vowels.
RING MOD (Ring Modulator)
This creates a
Parameter/
Range
Explanation
SENS (Sensitivity) *2
RATE
BPM 
When set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
MANUAL *3
*1 Setting available with MODE set to PICK or AUTO.
*2 Setting available with MODE set to PICK.
*3 Setting available with MODE set to AUTO.
MODE
This selects the mode for the ring modulator.
ANTI FB
This prevents the acoustic feedback that can be produced by the body resonances of an acoustic bass.
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ADV.COMP (Advanced Compressor)
This is an effect that produces a long sustain by evening out the volume level of the input signal. You can also use it as a limiter to suppress only the sound peaks and prevent distortion.
LIMITR (Limiter)
The limiter attenuates loud input levels to prevent distortion.
ENHANCER
This is an effect that clarifies the contour of the input sound by em- phasizing the attack of the sound following changes in the input level.
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PEQ (Parametric Equalizer)
Adjusts the tonal quality. You can adjust the sound quality in four bands.
GEQ (Graphic Equalizer)
This is a
ParameterRange
This boosts or cuts the respective frequency bands.
120Hz 500Hz 4.5kHz
+20dB
0dB 
Frequency
SUB DELAY
This is a delay with a maximum delay time of 400 ms. This effect is useful for making the sound fatter.
When set to BPM, the value of each parameter will be set according to the value of the BPM (p. 142) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
*If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
*After setting DELAY TIME to BPM ( 
??? 
), if you tap [F1] (TAP), the BPM value will change to match the timing of your tapping.
FEEDBACK
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NS (Noise Suppressor)
This effect reduces the noise and hum picked up by bass pickups. Since it suppresses the noise in synchronization with the envelope of the bass sound (the way in which the bass sound decays over time), it has very little effect on the overall sound, and does not harm its the natural character.
*Please connect the noise suppressor in the signal path prior to the reverberation type effect. This setup will prevent an unnatural break of the reverberation effect.
FV (Foot Volume)
This is a volume control effect.
Normally, this is controlled with an expression pedal connected to the EXP PEDAL jack or one of the
*When making the settings determining each pedal???s foot volume operations, refer to ???Setting the GK VOLUME Control and
Switch and the Pedal Function (SYSTEM CONTROL ASSIGN)??? (p. 42), ???Settings Related to the
Parameter/
Range
LEVEL
Explanation
DETECT
This controls the noise suppressor based on the volume level for the point specified in Detect.
VOL CURVE (Volume Curve)
You can select how the actual volume changes relative to the amount the pedal is pressed.
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COSM AMP
COSM technology simulates different preamp characteristics, speaker sizes, and cabinet shapes.
*You can make separate settings for Channel A and Channel B.
PREAMP TYPE
This sets the type of the bass preamp.
SUPER FLAT / AC BASS
FLIP TOP
B MAN
CONCRT 810
MIDDLE FREQ (Middle Frequency)
220Hz, 800Hz, 3.0kHz Specifies the center of the frequency range that will be adjusted by the MDDLE.
BRIGHT
Turns the bright setting on/off.
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BASS 360
Parameter/
GTR AMP DRIVE / GTR AMP METAL
Range
Explanation
BRIGHT
Turns the bright setting on/off.
T.E.
SESSION
GAIN SW
LOW, MIDDLE, HIGH Provides for selection from three levels of distortion: LOW, MIDDLE, and HIGH. Dis- tortion will successively increase for set- tings of LOW, MIDDLE and HIGH.
* The sound of each Type is created on the basis that the Gain is set to MIDDLE. So, normally set it to MIDDLE.
SOLO SW
Speaker Settings
SUPER FLAT / FLIP TOP / B MAN / CONCRT 810 / BASS 360 / T.E. /
SESSION / AC BASS
Parameter/
Range
Explanation
BRIGHT
Turns the bright setting on/off.
GAIN SW
LOW, MIDDLE, HIGH Provides for selection from three levels of distortion: LOW, MIDDLE, and HIGH. Dis- tortion will successively increase for set- tings of LOW, MIDDLE and HIGH.
* The sound of each Type is created on the basis that the Gain is set to MIDDLE. So, normally set it to MIDDLE.
SOLO SW
SP TYPE (Speaker Type)
Select the speaker type.
MIC POS (Mic Position)
This simulates the microphone position.
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For EU Countries
Chapter 9 Appendices
Index
MEMO