k=Roland: U-2eo Owner’s Manual _—s = =. ° : e 6) oom | es () i[ATTENTION ;nomerer ope nares AFA |A “Thetganeg tan en aromantemba eae! sang © once ote er ream a cargos vane” nee oie ee a ay be of etn agrees Sencties epee “The exieraton sh it mera aja teres {© ae eet he prec ee Spry wd ‘arson (ven Ses Bere ae panne be Pos INSTRUCTIONS PERTAINING TD A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS, ~-IMPORTANT-SAFETY INSTRUCTIONS \WARNING — Vinen using eecic product, basis precaulios should aays be foowed, cg he folowing: 1. Read a th nstuctons betore using he product. 2 Do na use tis procuct near wala —fo eam, near 2 ‘att, washoowt Kichen ak ia wet basernn®, of neat 28 mming pool re te. 8. This product shouldbe used only wih cat or ean tat is recoreenaed bythe manaactre. (4 Tis proouct eter sone orn combination wih an amor snd headchores o epedker, ray bo expat of proccry ‘aund levels tat could cause permareré hoary let, DO ‘ot opera fo a ong period of ne at a igh vote loved rata vel th Urcomorable you experiance ary hearng les orange inte ear, you should cosa an suaoogst 65, The proc ehaut belted mo thats tin oF postion ea no ere wit proper version 6. Thapredurhoul belocata away rhea sources exch as «aatrs,hestrepists or otter products a prods Pe. 7. Tha proc shoul aod using n whee may be eters byes 8, Tha proc shei be conacad to 8 poner supply only of ‘ha ype Gessed he operating utons Fas mark ne procs, 8. The powerupply cot ofthe product shoul be ‘note ue! when ef used tor along pone ee 10. Do nat ead on the power-supply cord. 11. Do at pa the cord but hot the pg when unsiogig- 12. When seting up wt any oer nseumerts, he procesire sould be olowedin accordance win rssucten manual 18, Gar shouldbe tan so rat objets o etal and igus | rot elle iri to encore cuph open. 14. The product should be sonic by mused src pe sonnet when: ‘A. The powercuppycovorthe plug hasbeen darages 1 tjcts rave tae, or hud hasbeen selled it he roducr or ois a marked change The product as been roppe. othe encosure dar ged. 15. Dot atiamst i nrc he product beyond tat desorbed ‘eevmanieraree SAVE THESE INSTRUCTIONS ‘ha eminas in your Bug rcone as foo: WARNING: THIS APPARATUS MUST BE EARTHED IMPORTANT: THE WIRES IN THIS MANS LEAD ARECOLOURED IN ACCORDANCE WITHTHE FOLLOWING CODE. GREEN AND-YELLOW: EARTH, BLUE: NEUTRAL, BOWN: LIVE As he cious othe wires in he mains edo is apparatus may ot comaspond wen te colored markings indenting Forte UK. “The we which is colaued GREEN-AND- YELLOW rust be connected to the termina i epg which i mara by ‘halter Eo by the aly earn soa er coloured GREEN or GREEN-AND-YELLON. ‘The wre whieh coloured BLUE mustbeonnectad ote rrana ih ari eater or coloured BLACK. “The wee wich coloured BROWN must connecied tre anna wha martad wit eines Lo-cooureG RED. “Toe product whichis ecupped wih a THREE WIRE GROUNDING TYPE AC PLUG must be grounded.L-22 SS0Ny' MODULE ——— a ILE Owner's Manual Mi Introduction ‘Thank you for purchasing the U-220 RS-PCM Sound Module. The U-220 contains 4 RS-PCM digital sound generator that can produce 2 wide variety of high-quality sounds, To take full advantage of the U-220's features and ensure long and trouble-free enjoyment, please read this manual carefully, Copyright © 1989 by ROLAND CORPORATION Al rights reserved, No part of this publication may be reproduced in ‘any form without the written permission of ROLAND CORPORATION.CONTENTS Listening to ROM Play +--+» oy IMPORTANT NOTES a FRONT PANEL AND REAR PANEL - Main Features --seessssssisecesesesssness How to use this manual +++e--+0s00005 ‘Chapter 1 How to play the sounds 1. Geiting ready to play meee 7 ‘8 Connetions » ee (Turn the poner nsseseeeseccerteeeserseestee AS 2. Play the sounds of the U-220 -++---+----++0--16 ‘1. How MIDI data is communicated -+-+-+-----+18 2. Connection : MDI Chante : 2: MIDI data used by the U-220. 1. How the sound generator is organized 2. Memory structures:++-s-ssee1s 3. How the sound is ovtpet--- 4, How MIDI data is received 5. Operation: ‘Operation Modes Operation procedures ei BESSUks ree man 1. Play Mode: 2. dit Mode» a, Setup setings Master Tune Mes « Leo MIDI Map: ‘atch sting Naming Effect - CContllers++s1+++essssene Par seings Rhythm Pat © Baltng timbre Naming ++ Tone + Levels Pitch Vibrate ss 4. Ealing wht Naming. Bender fine BSSBISRRAKSRREBESREEREES 3. Data Mode 20 1. Write procedure: 0 Patch a Timbre v1sseeeceeseeeee a Rhy Sete++osesssve0e a6 Bulk Dump 48 Alida 50 ‘Setup data 1 Temporary“ - 82 Memory - 82 e Inallze- 93 9s 95 96 96 97 7 9 ‘How to adjust the volume ---s-s---rreessee= 100 2. How to change the output--- sovevee 102 3, How to select patches 108 4, How to change the current sound-- + 10s 5. How to change the pitch <-++:+++:ssssesse 107 6. How to add reverb. a = no 7. How to add chorus-» seseesseee HL 8, How to add vibrato « <2 9. How to set channels « us 10, How to use a sequencer +n 1, Brtor messageseesseevveseseeveresss esse 120 2. Troubleshooting 3. Parameter List 4, Preset Tone List ---- 5. Initialized Settings-- 6. Blank Charts «+--+ Roland Exclusive Messages « MIDI Implementation - MIDI Implementation Chart - MIDI Flow Chart SPECIFICATIONS: INDEX-Listening 0 ROM Pay Listening to ROM Play ‘The U-220 contains two songs which demonstrate its multi-timbral capabilities. The ROM Play function is used to play these songs. To listen to the ROM play demonstration and also to take full advantage of the multi-imbral functions, we recommend that you connect the U-220 toa stereo amplifier or listen through headphones. om = Keatprones [Procedure] © | sterce Amitin, ° @| been) | ox L ewowo>) Joan © White hotding [TOME ]press vaLUELA]. Dabavitil/ROM Play iStor Song #1 HISHLANDER ® veeS]CuRSOR LE Jeo sect sng #1 | HIGHLANDER caving ie ie Wisse by Be Prog #2 |U MIGHT BE THE 1 | On o tape fi Pesing Muse ® Tostart the song pres| or VALUELA)). “ostop the song press [BUT (or [VALUE ). Ute the VOLUME kash to regulate volume, It is ofen conv ‘demonstration while makiog connections ot ating the volume. to bear the ROM Play "It you start playback without selecting a song, songs 1—2 wil continue repeating. If you specty song 2 and star playback, song 1 wil begin when song 2 ends. Then eonge 1 and 2 will continu playing, ® Toreturn to the normal dtsplay press three times. (orto and press 7 JVALUE)staring te ROM Pay —— (Notes on ROM Play) 1 you want to use the VOLUME knob to adjust the volume, set the rear panel FIXED/ VARIABLE switch to “VARIABLE”, Turn the U-220 power off before changing the ssulteh setting. “The ROM Play data Is not transmitted trom MIDI OUT. ‘Messages from MIDIIN will not be recelved during ROM Play. ‘You will need a MIDI sequencer If you want to use the U-220 to create an encemble performance like the ROM Play demonstration, © Biographies of ROM demo's Composers MARVIN SANDERS Macvin Sandee is an accomplished composer / keyboardist and authority on creative sequencing applications. An active musical director and composer for film, television, and theatre, he lives in Los Angels where his talents are wilized in studios and live performance. As a product specialist and clinican forthe Reland Corporations have included the “Cityslicker” ROM demo in the D- and programming forthe TN-Series Style Cards. ERIC PERSING Eric Persing is one ofthe most in-demand session players and programmers inthe Los Angels area Eric began working for Roland as a product specialist, fist doing clinics and support, then gradually became more involved in product and sound design. Eric has worked with such anists as Michel Jackson, Denise Williams, Lionel Richie, Larry Carlton, and REO Speedwagon. His music and sounds can also be heard on many TV shows and commercials. Actively involved in film music, he thas worked with top composers including Michel Coulumbier, Danny Elfman, and Bill ContIMPORTANT NOTES IMPORTANT NOTES In addition tote items Tite under Safety Precautions, on page 2, ‘we request that you please read and adhere to the fllowing, @ Whenever you make ary connections with other device, ways tum aff the power to al equipment fist, This will help in preventing malfunetor, and damage to spaskes, (© Do not force the unit share the same power outlet as eve sed for distortion producing devios (euch a8 motors, variable lihuing devees). Be sure to mea separate power outlet. inn ment (© Placing the unit near power ampliiem or ether equipment ‘cnainng large weosfornee may indvee hum (© Should the unit be operated neat televtion a radio receivers ‘TV pitores may show sign of interference, and sai might be heard on radios. In such cates, move the Unit ou of proxinity ‘with such devices. PE (© For everyday cleaning, vipe the unit with x sot dry elth, oF fone that is dampened sighily. To remove dir that i more subborn, wipe wing 2 mil, neva detergent. Afterwart, make sure to wipe throught wih eft eloth, (© Never apply benzene, thames, alcohol or any lke agents, co vv the vsk of escolontion snd deformation (© Never apply strong pressure to the display, or ake itn any my. © 4 censin small amount of het willbe rite from the unit, and ths sould at be considered abomal (© Before sing the unit ina Foreign county, check fit with your local Roland Service Staton. @ Within the vic is comained x batery which serves in maintaining te conens of memory while the main power is ‘off. The nora if of this baer i 5 yeas or more, but itis strongly recommended that you change it every S years as 2 rule, When i me fo change the baery, coset a Rolaod Service Sion. ‘The first time you need to change the battery could occur before S years have passed, @ When the baery ges weak the following will appear in te sisply. By this ime, ti possible thatthe contents of memory have already ben lost, “Internal Battery Low” (© Prease be aac that the content of memory may at times be Jost, when sent for reps or when by some chance a smalfuetion as oceured. Important data should be writen down on paper. During repairs, due ear is tken to avoid the loss of dat, however, ineerain cates, suchas when siccuity ‘elated to memory ise is out of order, we regret hat it may be impossible te restore the dts,FRONT AND REAR PANEL Eh SSE. OO O} © 4 of PIee | 900 seseeel JFRONT AND REAR PANEL -_ (Front Panel) Eh Power switch Ths svtch mathe power ‘MIDI message indicator ‘This indicator Highs when» MIDI message is ecived PCM card slot Seer snd sn ayers (GN-U0 seis xn be ined in su Hl Part/ Rhythm instrament select buttons ‘Use tes baton eet pars 15 in ly ode oF when echng Value buttons ‘oes btn ved wo charg: sting vale. The vate will decrease each rime you press], and will increase {ich tne you pee [ZS] Myo ste png 3 buen the vahe il nerae_emitoaly. you pes EE] (CZ) wie nig TCA) the ae il eacge sore rapidly. Enter button is button i used mainly to specify & ment item from a ‘menu display in edi mode odes mode Exit button ‘This bution is sed retum tothe previous higher level in editing mote or datt_mode. (This boton moves in the opposite direcsion of [ENTER] ) EX Cursor buttons In edit mode oF dota mote, te tee buts 10 move the ‘inking cunert select nen items or Farnees. In pay mode we these buat slet days, Data (reverb) button Press ths burton to enter Data mode, where you can store edited settings or rans ata, you press this button after pressing Jump buton you will, move to the eve display HD Edit (chorus) button Press this bation fo emer Edit mage, where you ean edit (modify) the serings of a path a sound. IT you press this buton after pressinglamp button you will rove tothe chorus display Hi jump button ‘Use this bun to jump a specif is HeMrx button ‘ets ton menos ply which you watt np. Eb Display This shows the varios settings and parameter vas, Volume knob This ase ove vole tha sop fom te Mi (et jks a te Phones ck (Tid ieee oly cate Fhed/ Varta) Hi Phones jack ‘Ast of heptane concede, Uta Despont impedance B30 chs Sound vl pent 2 theca sree of where Powe ek binge (Rear Panel) HE M1D1 connectors ‘Use theteconnteors to eoonet other MIDI device, WibDirect out 1,2 jacks The diet sound witout the eet wil be oupat in seco ‘rom thet ac. “When tne U-220 Is shipped, the direct outputs are tumed ot BED Mix out jacks Te tun f ech prt processed though he fe wil be cupitn sre tom fete la For nnma t,entest he tk 0 yooramp/spster pan, HE Fixea/ Variable switch ‘This switch determines whether or not the front pase! Volume knob wil aus the volume of the sound from the Mix Out aupas, ‘When set to Fined the volume wil be xt maximum regariess ofthe sting ofthe Volume tno. When set to Variable the Volume keob will regulate the volume. ‘Tur the power off before changing th cent, tng ofthisMain Features 10 High quality RS-PCM sound generator RS-PCM stands for ReSynthesized Pulse Code Modulation. PCM is a method of Aigitally recording a waveform. However simply recording and playing back the sound of an instrument is not enough to creste a truly musical sound. RS-PCM sound generation uses Roland's advanced signal processing technology to process and resynthesize musical sounds recorded by PCM, to create realistic and playable musical sounds. ‘The U-220 contains 128 high quality instramental sounds ranging from piano and ‘other sounds appropriate for a classical or jazz ensemble, to the synthesizer sounds of rock and fusion. Various parameters (aspects of the sound) such as piteh and level can be adjusted for each Tone (sound) to allow you detziled control over timbral nuaness. ‘Tones from a separately sold PCM card (sound library SN-U110 series) can be ‘used in addition to the tones built into the U-220. Multi timbral sound generator ‘Multi outputs Voice reserve in digital effect ‘The U-220 contains @ multi-timbral sound generator that can simultaneously produce 6 parts and a rhythm part. The sounds (timbres) and effecis of each part ‘an be stored in 64 diferent setings as petches. When using « MIDI sequencer, this Allows a single U-220 to produce all the instrumental sounds of an entre ensersble ‘Tone assignments end settings forthe rhythm part can be stored as one of four ‘ythm setups. You can select any one ofthese four to uses the rhythm part. ‘The U-220 has three sets of stereo output; Mix Out, Direct Out 1, and Direct Out 2, These output can also be used as multiple ovtpus. Each sound can be sent {om its own output terminal, allowing you to use an external mixer and effect units to mix and process each sound independent. ‘The 0-220 can produce up to 30 voices at once. The voice reserve settings allow you to specify how many voices will be used by each part. ‘The U-220 includes a built in digital reverb /chorus effect unit, providing a spacious {eeling of stereo depth, Bach sound patch can be given its own effect settings.Main Foetus Jump function ‘The jump function allows you to instantly jump (move) toa specified display. In dition to the pre-defined jump destinations, you may also define your own Using the jump fonction allows you to edit more efficiently. ‘Map function ‘The U-220 allows you to create a Program Change Number map that specifies which sound will be selected by each incoming MIDI program chenge. Patches, timbres, thythm sets, and rhythm instruments each have four maps. aHow to use this manual ‘This manual is organized into the following chapters. Read each chapter as necessary Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 How to play the sounds - ‘About MIDI Funetion reference Basic procedures Supplementary materials ‘Front panel buttons in the text, 2 This explains how to connect the U-220 to extemal devices (how to prepare for playing) and how to hear he sounds. ++-This explains the basics of MIDI thet you will need to know in order to use the U-220, ‘This explains how the U-220 is organized, how to view the displays, and basic operation. In order to take full advantage of the U-220 please be sure to read this chapter. ‘This explains the functions for each level of the U-220, ++:This explains basic procedures for various operations. Refer to this chapter when you want to create your own sounds or use the performance functions. «This contains parameter lists, an explanation of the ertor messages, and help for troubleshooting. 1m this manual, front panel buttons are refered to by the name printed sbove (or below) each button. (Example) Edit button» [EDIT] Curaor button-+ [4] CURSOR]‘Chapter 1 How “to “play “the’’sounds In chapter 1 we will explain how to connect the U-220 to extemal devices (getting ready to play) and how to hear the sounds.1. Getting ready to play a. Connections Connect the rear panel MIX OUT jacks to the input jacks of « keyboard amp or ‘mixer, When playing in stereo, use the Land R jacks. When playing in mono, use only the L (MONO) jack. Before making connections, make sure thet the power switches of the U-220 and the amp are off. When using headphones, insert the headphone plug into-the PHONES jack: Oo fe @ aac @ 4 = voc. eroroy} |r +The U-220 does net contain a bul-In power amp or speaker, and wll not make sound by ‘sof unless you use headphones. + When shipped, the U-220 is got so that ne sound appears at the DIRECT OUT jacks, "It you connect the U-220 directly to a stereo system, be careful of the output level, Excessively high levels can damage the speakers of your ster system "To take full advantage ofthe U-220, we recommend that you play It In stereo,‘Getting ready 10 play b. Turn the power on [Procedure] © Chee tat connections for power and external equlpment (amplifiers ete) are corret. © rrurn the power switch ofthe U-220 on. ‘The following message wl be briefly csplayed. RS-PCM Sound Module Roland U-220 ‘Then the patch name will be displayed, @ Turn on the power of the external equipment (amples ete). Now you are ready to play. "Aer the power is tunes on, the U-220's protection ccut inserts a short delay before Doginning to operate, 1s2. Play the sounds of the U-220 Here's how to play the factory preset sounds of the U-220. * Set your keyboard to transmit channel 1, © Geet pin that appears immeditely after the power turned on (We wil el P-G1: Acoust Fiano [ag1) Re Pei 16 11Bi Gils the display is atTrent pres © vse ]VALVE LA Je ste P-01—P-64 while playing the keyboard, 42 Beisht EP Land] 11 (e21G2184 1OS1G611 ‘The sounds that you ae soleting in step @ are called Patches. ‘The following chepter “Introducing the U-220” will explain more about patches. @ Press PART / INST [B]- ight EF Tir iBS14 165106116 to select T-001—T-128 while playing the keyboard. t fase] BiG G1IGili ‘The sounds you are selecting instep @ are called Timbres. The following chapter “Introducing the U-220” will explain more about timbres.Chapter 2 About MIDI This chapter explains the basic. concepts of MIDI that you will need to know when using the U-220.1. How MIDI data is communicated ‘MIDI (Musical Insiroment Digital Interface) is a world-wide standard for exchanging musical data such as performances and sounds. If» device has MIDI, it ean be connected to another MIDI device (even ofa different type or manufacturer) to exchange musical data ‘MIDI transmits various types of musical data such as data indicating that a key has been pressed or released, or that ‘a controller has been moved. When you play « MIDI-equipped instrument, it will transmit MIDI data to indicate the performance gestures, Another MIDI device that receives this data will produce sound just as though it were the 5nstroment being played. “This section explains how MIDI data is transmitted and received, a. Connections MIDI-equipped devices usually have three jacks; IN, OUT, and THRU. Use a MIDI ‘cable to connect these jacké to the other devices in your system. ‘Connect to the MID. OUT or MIDI THRU of another eevee ‘Tie connector wananits date rom ‘tha unl self } orm ot MDI of ant ese Paetes MIDI data roses MIDI NY Controlling the U-220 from another device ‘When asng Sequencer ar MID! keybeard to cont ihe U-220 make connections 2s fellows{How MIDI eats fe commuriated Using MIDI THRU: MIDI THRU can be used to send the same stream of data to two or more devices. cou E> == 54 = 2 a) uzz0 ‘Seaueear “tts theoratcally possible to use MIDI THRU to connect any number of devices. Howaver ‘three ig about the practical limit, Running a MIDI signal trough many THRU can garbie the transmitted data. you need to connect more than three devices please use a MIDI ‘Thru Box. b. MIDI Channels MIDI uses “channels” to transmit data independently to multiple devices over & single cable. You can think of MIDI channels as being similar to television channels, You can switch channels on a television receiver to receive many different broadcasts. When the channel of the receiver matches the channel of the ‘transmitter, the data of thet channel is received, ‘Broadcasting we ae =n le aUscse2 Song ay) [va I madtaneously bsing sent though the eable rom an Brosasing A Many diferent T.V. mncsogos eg. ch 1, 2, 5) ore MIDI bas sixteen channels, numbered I-16. When the MIDI chant! of he seciving device matcher ‘he MIDI chanel of the transmiting device, the data willbe recived andthe resving device wit produce the appropiate soundHow MIDI cat is communicates Dees not sound cenly Sound Module B sounds2. MIDI data used by the U-220 MIDI transmits data using various types of Message. The following types of MIDI message are used by the U-220, Tete Date Program Crange ‘Conta! Change Pach Bondar Aftertouch ‘System Mocraane Exclusive Messoper 0 Channel voice messages Channel voice messages are transmited and received on a specific MIDI ehannel These messages ince bs ‘ypes of mesial daa, ‘Note: data from the keyboard [Note messages tell how the keyboard is being played. These message indicate which key (the note umber) war played, and how strongly (the veloiy) Sila messages ace tansmited when & ey i eleased, Fr the U-220's hy part ad for most ‘ther shyt machines, each note number wil play a diferat hythm sound, Program change: data that selects sounds Program change mesages are used muinly to select sounds, The U-220 wees program change messages to select patches, inbres and rhythm setups, Devies made by different mapufaturees will ‘respond in diferent ways to program change messages, Check the manuals for you equipment Control change: data for musical expression Conte change messages are used to contel musical expressions such a vibrato, ald, voleme, and pan, Devices made by diferent manufactures may transmit and receive different spes of con change message, and espont in diferent ways to these messages, Consul the MID! implementtion charts of your equipment to see which contol change messages are anomited snd ecived, Pitch bend Change: data for pitch change The ptch bender lever found on many keyboards ony tinsmits the posiion ofthe eve. The actual pitch change (bend range) will depend on the stings of the U-220. The pitch bend range can beset foreach timbre of the U-220, Aftertouch ‘The afterouch data transmited by many keyboards tranamiu the force with which you press down on ‘he keyboard after playing a not. The effec this wil have wll depend onthe stings ofthe U-220. Altertouch is divided into “ehunnel aterouch” and “polyphonic aftenouck", Channel aftestowsh ‘rans 2 single aferoueh value cling the pressure ofthe key being presied most strongly, and feats all notes on the MIDI channel Polyphonic afteteuch transmis ap aftenauch value for each key (not) telling how strongly each key is being presed. This allows you to afect indvidst notes within single MIDI channel ‘The U-220's sound generator ean respond to both pes of aeouch. a2MIDI oats used by the 220 System messages ‘System messages contin da that contol al devies in an entire MIDI system, and ate received by vices regurless of thes channel number sein. In addition to exclusive messages (explined blow), system messages include varius types of message used by sequencers, and other messages tha help cep & MIDI syste running prope. Exclusive messages 2 [Exclusive messages contain data unique to each device such sound da [Nonmally hese mest ge are rnsmited and received only berveen devices af he same type made by ‘he same manofatrer, For example exclusive messages canbe used te rami sound dato another 1U:220, ort tre sound dain a sequence. MAbout the MIDI Implementation Chart MIDI is able 0 tami and receive data berveen various types of device, but not all vices ae able to transmit and resivethe same types of esis, the owner's Manual of eath MIDI device has & “MIDI Implementation Chart * which shows the types of data tha the device i able to tranemit and receive (se page 151.) ‘All Implementation Chars are standard sie, so that you ean place two chars side by side to see howto devies will be sable to communicate with exch ote ea MIDI Impiemelntation Cert I Instrument & Instrument 8 Implementation Chat implementation ChartChapter 3 introducing the ~U-220 This chapter explains how the U-220 is organized, how to view the displays, and basic operation. In order to take full advantage of the U-220 please be sure to read this chapter.1. How the sound generator is organized ‘The U-220 is organized into the following memories. @ Tone © Timbres @ Rhythm Set @ Part @ Patch ‘tome isa basic sound which is use in Timbre ora Rhythm Set. The intemal memory ofthe U-220 contains 128 tones, bot an optional PCM etd ean be inset provide ational tones, ‘Timbres ar the basic uni of sound which youwilb ply. -Atonesthe-basic slementofecitinbrs Each timbre also contains setings which detemine the pitch, vibrate an level ofthe Tone. 128 timbres canbe created (8 page 6, ‘A Rhythm Set isa cambiaton of drum teunds and setting to determine how each drum sound will be playe. As with timbres, toes are the basic element from which a hythm sets made 4 cythm sets canbe created (ee page 7). ‘The U-20 has 6 ports and rhythm part. Each par has ts ov MIDI channel, and canbe sed as 1 independent sound generator module. Etch prt 16 basa tmbreasignd to i, and a rythm set an be asignd tothe hy pa, AA Patch consists of stings which determine the shyt eto timbre assigned to each part, how the arts wil be sounded, and stings for chorus or reverb. 66 sound patches can be ereted. (se page 33) Patches can beset ina varey of ways depending on how you ae using the U-220, For example if you are cresting an ensemble using Just the U-220 alone, you ean set each part to att san Independent sound generator. Or Ifyou ae using the U-226 asa sagle tone generator you ean create single sound using several parts (mbes. More about tones (© Types of tone and simultaneous polyphony ‘The U-220 can produce upto 30 notes (voices) at once, bat this wll depend on the type of tones being used ‘Tones which consist ofa single voic-can play up to 30 notes. Tones whichconsst of two voices can play up to 15 notes. (ee page 65) Pitch range Each tone has an upper limit beyond which it cannot produce sound. Each acoustic instrument has different sound-producing range, and the sound-producing ranges of the U-220's sounds are based on these ranges. 22Memory structure 2. Memory structure ‘The U-220 can be used in a variety of ways depending on the settings of various parameters. The settings of these parameters are stored in various Memories. The memories are ivided by function and use into the following areas; setup area, memory area, temporary area, and tone area, @Setup @Memory area ‘@ Temporary area @Tone area ‘The setup area sores parameters that affect the entire 220; master taring, stings which determine how MIDI dats is handed, setings wich determine how. program change data js handled, et ‘Settings in the setup area sre preserved even when the powers tamed off. ‘The memory aren sors 64 patches, 128 timbres, tnd rhythm ses. Setngs fn the emery art preserved even when the power ia tured aff ‘The temporary are ie where you modify the stings of patches, timbres, or shyt sts. When you ‘elect a patch ete, the setngs inthe memory are se eae into the tempory aes Stings inthe temporary ares re eporay, and willbe leet when you selec another pach et. ‘A tone isthe basic element of sound (wave data from which a timbre or hythm seis ested. The (U-220 contains 128 ones, Tones ina PCM card ae alte handled as prt ofthe tne area data. Is not possible to chaege tone stings ‘When you ply the 220, the seings inthe setup area and the curent stings in the temporary area will determine how the U-220 sounds, When you tlet patch, the sting of thas patch and the ‘imbre and cythm set stings specified by tat pack wil be read into the temporary area from the ‘memory are. When you select a timbre the specified rat wil be read, When you selects hythm set the eythm pa wil be ead, * When we say thet data from the memory area Is “read” Into the temporary ares, we ‘mean thatthe settings of the memory area are copied into the temporary area. ‘The important thing to remember is that when you modify the settings of a patch, timbre, or rhythm set, you are modifying the settings of the temporary ‘rea, not the settings of the memory area, Settings in the temporary area are only temporary. When you select another patch or timbre these new settings Will be read into the temporary area, and your previous changes will be lost. If you want to keep the changes you make in the temporary area you must use the Write operation to write the settings into the memory area. ‘When making stings, be sure to remember how the memories are related. 2s2Memery structire Data is transferred inside the U-220 as shown in the following diagram. Patch Pant Pon 2 Pat 8 Pea Pe Ravine Fae it Setup Area Tone Area 128 Internal “Tena Fad Wii ie3Mow the sound is ouput 3. How the sound is output ‘The U-220 has three pairs of stereo output jacks. When the U-220 is shipped it is set so that sound is not output from the MIX OUT jacks, but you can set these as required by your musical needs. ach pat 16 canbe set to and is sound fom any out jack (age 61). Forte thytm pa you can specify the outpr for eeh yt sound in the rythm se (ee page 79) a aan Se (@rThe chorus/reverb effect 5 applied to the sound from the MIX OUT jacks. The rear pone! Fixed / Variable switch determines whether or not the front panel Volume kaci wil regulate ‘the volume, Ifyou want ro use the front panel Volume kngb to regulee the volume then set ‘the switch to Variable. If you want the sound to be output at fixed level regardless of the position of the Velume knob then set the switch to Flsed. When using a mixer to adjust the volume, set the switch 1 Fixed. (@Te chorus /rever eect isnot applied to the sound from the DIRECT OUT 1/7 jacks. The volume wil always be at xed level regardless of the Volume knob, * Evan ifyou specty that the sound be cutput trom the Olract Out jacks, the sound wil be jutput tom the Mix Out jacks (witout tho attoc) It he Dieet Out jacks are not used. (The ‘volume can be adjusted by the Volume knot.)Siow the sound is output (@'n addition to the output Jock sletion, each part has its own pan setting to determine the stereo position (page 62). Each rhythm sound In rhythm st has sw pan setting (page 79). By setting the output selection and pan ofeach part as shown inthe fllowing diagram, you can send the sound of each part from Is own output Jack, 2 mana sy ta Baie (Cee eat a Sat a Se) DIRECT OUT 27. DiREGT OUT 27a DIRECT OUT 1/1 Max OUT Direct OUT 178 Mx OUT/A MX OUT DIRECT OUT 1/R Mx OUT/R.4,How MIDI data is received “The following diggram shows how the U-220 receives MIDI data, onto! Chel part @ Gesahe Channa) Part 8 Gesske Groene Pant 4 (Recaive Channa = Pan § ecsive Garnet) Pan 6 (Reseve Chars J—-—— Ravin Part (Receive Chanrad] =e Gee} Sen Ge) (@ ach part receives MIDI data on Its own MIDI channel (page 1). For example when part 1 receives note dts it will sound using the timbre assigned to part 1. Program change date can select tosbres or hythm sts In adlon,eantrol change data can affect the sound of timbres nother ways, (@ln addon to the MIDI channel for each par, there 1 2 Control Channel (pegs 46) for selecting the patch. On the control channel, program changes can select patches, and control ‘ange data can adjust the settogs ofthe eet unit. Program change data The U-220 can receive program change data to select the following, Osta selected by prosram change Cento Cannel Patch MIDI channds of pare 16 | Tene MIDI chanats of ryt part 1—8 | Rahm SetHow MIDI date i received Control change data Each incoming program change ean slet the pach / timbre / thythm set shown ia the flowing ‘able. You can change these assignments if you with Patch Number Program Change Number | .01=68 1-64 1 Tino Number | Peowon Chane Nuns 7001128 1128 vim Se Norer”[ Peso Change Nomber ime 1a AA set of correspondences between program numbers and memories is called a Map. ‘You can create four maps of your own for each type of memory. By arranging programm numbers in the order of their use in a live performance, you will be able to select the right sound for each song using consecutive program changes. For derails refer to “Function reference” (page 49), Patch Map Timbre Map Four pee Four types Four eer ‘The U-220 receives control change data to control modulation, volume, pan, ete. Ia addition, you can adjust the settings of a specified parameter using control change data. Bach patch has settings which specify which parameter will be regulsted by which controller. For details refer to “Function reference” (page 56),Soperation 5. Operation eee ‘This section will explain how the U-220's operations are organized, The following chepter “Function reference” ‘will explain how to modify each type of parameter, but this section will help you understand the overall flow of operation. a. Operation modes ‘The many operations ofthe U-220 are grouped in the following three modes, PLAY EDIT DATA Ses] [Freer Tine] [Rhythm Wie But co ui Play mode You will normally play the U-220 in play mode, You can also check patch (page 42) settings and part settings. Edit mode In edit mode you can edit (adjust or modify) the various control settings and (page 45) sound (patch/timbre/rhythm set) settings. Editing always affects: the temporary area, and your edited settings are temporary. If you want to store ‘your newly edited settings, you must use a data mode operation to write them {into memory. * Setup setings (eds) drecty affect the setup memory, not the temporary ares, so the ‘ite operation snot necessary. Data mode In data mode you can write your edited settings Into memory, or transmit data (page 80) ‘vie MIDI (bulk dump). In addition, you can initialize settings or monitor the MIDI data being received. You can also listen to the U-220's demo performances. 3SOpection b. Operation procedures ‘The various groups of parameters you edit in Edit mode and the various operations of write/data transmission/initialization in Data mode are grouped into the following levels. (@Fcit-mode contains-menu- displays rom which you wll-selec:the-parameter group;-and parameter displays in which you modify the vale o the paraaeters. First select the group of the parameter you wish to elt nd then move to the parameter isplay. Next eect the parameter you wish to et and modify the value. rode contains deplays from wbich you will seleet the write /éata transfer /iiilze/ uly funeton, and displays io which you specify the unit of data. Fist select the desired function. Then specify the unit of date and execute the operation. ‘As explained In the following procedure, press the buttons to move to each lev ‘Then select and modify the parameter. You can also Use the Jump functlon (page 97) to move quickly to a desired dlaplay. © Press| to select the operation mode. ‘Then use JCURSOR BJ and[ ENTER ]to move to the level ofthe parameter you wish to modify @® when you reach the desired parameter, use| setting or value. © Press /ALuE(Z]t0 change the to return to the desired display. ‘wman you want to mediy the same parameter for dierent pans In a pate, use (CaLART ns Beat step © to move detween pans. (You can also use[@]PART/INST[} Jto move between timbres or rhythm instruments when edting tite o ryt set) 1 you tose track of where you ee, pres oid and press 7-]VALUE vera time to return tothe play dspley. (Or 2i me H 1 Ly 1 2 qidee ieee dh : AMb ala aban fh Edit Mode Ly ditetelalad Uta) PH nitel fad dHililile Ha] et sit bet en Hiri HEHEHie | J B| Fenn Fam ava epoyy eleqS.0peaton ee eeeeSFeesF How to use the buttons Feturn to a higher love Move berwsen paris (18) Move beuvesn meas (6) the me Set the Rovthm Inst aaa Execute a command ft Moge ow Mose [Mor to'8 lower eel Move between parameters Modify stings tomove to edit mode, ress this but Press this bution tomaveto data mode. [cursor [>] ‘Use these buttons to select parameters that are in the same level. ENTER. Press this button tomove to the met ower ev (7 ]vaweTA] Use these buttons to modi parameter values or settings. SE |PART/INST [D>] Use these butions to move between parts (parts.1—6) in» patch, When edltiog # tre, use ‘these buttons to move between timbres (Umbres 16). When editing & rhythm set, use these Dottons to move between instrument numbers (B1—D7). EXIT Press this button to return tothe next higher level, ‘The upper line of the display will show the levels through which you heve moved as you progress down toward the parameter level. ‘The level to which you have omared Edit-Setue/HIDI 4 Re Suséx = Off ob t‘Operation partion [Hovrsor (Example) Display Edit. BSeOHEI Pat chi Timbrel Rsthm Edit-Setu He TunelEfct1 LOD Waza Mar 4 Edit’Setue/MIDI Fc Control Che: 4 initialize. Rx Sys&x | ———-| Eait-Setue MIDI Rx Susix = Gh b "The“4™ and }*inthe display ndlate that other parameters xt atthe sare level In data mode there will be the following additional display to execute the selected operation. This display will appear whenever you are about to write data or Data cacikacack Sure? CVALUEA] 7 CEXITI ‘When execution is complete the following display wall appear. Datavision racic Function Completed. "After a short tims the previous dsplay will reappect.‘Operation —— Frequently used displays in the U-220 have been preset so that you can use the JUMP button to move quickly to them. This i called the Jomp function. ‘While hong pres the button for which the desired dlaplay has been preset Page 38 ‘és allstotthepreset jump displays funtion). (@11 is not possible to change the preset jump display (function) destinations, but you ean use the MARK button to mark any display (function) to which you wish to jump. Page 39 lists the displays that are marked by the factory settings. How to mark a Display] D selec the dspay you wish to mark In al datas the location of he cur wil lo be marked @ Press [MARK]. Pres the bution for which you want to mark thedspy. Press one of these buttont Pant ig coT__pATA paren a ON — ese) a aaaigl mac ae [ | Het ‘To move tothe display you have marked, press [JOM Jand then press the bution for which you have marked the desired display, (This procedure is also used to jump to the displays marked for| Jand [DATA ].) * Ifyou want to restore the marks to the factory settings, you can inialize the marks (s20 page 99). aSperaton © Preset jump functions ‘The following jump functions have been preset, and cannot be changed. While holding or After Pressing ‘The ply to sot the chowws of the paich EditvPatch-EffectChorus Spiscianioisesmtomekssrkckase ‘The ceplay to eet the rverd of the patch Edit-Patch-Effect/Reverb Eocene aor nboE While holding The Gasay to taal the param OUP caren sing etd Daba-Bulk siete Tre Geplay to write the pararater eroup eurariy Bang ested DabaWr ite semis ‘Yo can hr nh a 6 na Hor vere hn are (cursor ‘Move 10 the next porareter group (Same os ERT + Fl} CURSOR-~ TENTED) cursOR DE] ‘Move to the next paraeter group (Same es[ERIT] CURSOR []—~[ENTER)) [apart ANst turn to the previous pay you passed tough (wo 10 32 displays) PART/INST [DB] ‘Aavance to the naxt dapley ster retrring 40 previous displays Tavawe “The pley mode olay where you lest were The diasay 10 pay FOM dame (the song previously sslacted) vaLue Data-Util/ROM Plas iStor SONS sPelsisisnscaostatsktaktrS.Operation @ Settable jump functions ‘The following jump functions have been set atthe factory. (You ean change these if yoo wish.) Edit-Patch-Part1 MIDI om Rx Ch=81 Edit-Timbrel1lvTone Tone T6027 8.FIANO 4 Palounson || F4Et-Petchg Edit-Rhythm-InsteTone cursor) |] Biot 1-128 DRUMS » After Pressing IONE. Gaipartnst EditvPatch-Parti-Guteut Pan=v< PART/ANST D5] Edit-Patch/Partivouteut Level=137 EditPatch-Partivy. Rsv Clvatue Usice Reserve=a [38] | vauen EdityTimbreli]/Level 3°Chapter 4 Function reference This chapter explains the functions for each level of the U-220.1. Play Mode (Play) In play mode you can view the effect settings of the patch and the settings of each part. Slee i resed | P61! Acoust Piano Coei) RX PGi lekiGSE Phe B71 18 OUT Pisce DEUM EFTI-R lee —-10- ee CRT PANE Rn eel ood oe lak TE SUE Glaekl Sbiid beet TH TeeIDIT Ja E 7 andard Set (BaiI i Fac ‘The top tne shows the erenly used puch name, timbre name, oF yt se ram. Use [a] PART/INST [Beto move berves te following displays, Patch Part 16 Part 2 ¢ Part 3 ¢ Part deo Part 5¢» Part 66% Rhythm part ‘Use EIIVALUEL ET sein paths, the ite ofeach par rte sym set ft spt par “The program change number which comespon to the patch or timbre is dleplayed in square brackets [. ] fae program change ie azsgned wo the pate, tebe, o yt se this wil play [ Map (atch, Timbre, Fythm Sot) room Grange time to 2-rOHf 1 1 stot is iplaye in he |], the progr change reception switch is Off fr the selected patch, timbre, shyt se, Gram) EditvSetue/MIDI 4Rx Patch Chanse=DEPlay Mode (ay) ' ttmore then one program change number Is assigned to the same patch number, the Jowast-nursbered program change wil be shown, Patch Map rv) Bai an om | i Progam Chines Number ‘The lower line shows the reception channel and output for each part Use [aC] CURSOR [5 ]t0 switch the display as follows, [RX (reception channel) ¢ OUT (output assign) EFT (eect) PAN (pan) © RSY (voles reserve) ‘The cursor in the upper line corresponds to each par a1 ras My tae IDLE bust Pa B Pen 2 Pat Pe 5 Pet 8 Re Pat (1) RX 116, ##. 3) ‘This shows the reception channel setting of each part, and also serves as a simple ‘monitor of which parts are sounding. 1—16 : reception channel number +4 notrecelving (oft) >: now seunding (2) OUT (Mx, D1, D2, #4) ‘This shows the output setting of each part, Mx: MIXOUT Di; DIRECT OUT D2: DIRECT oUT2 4% +: notused, since the reception channel ie oft 2 The rythm part wil not be disslayed.{Play Mede (Pay) (3) EFT (GR, C=, = **) ‘This shows the chorus /reverb setting of each part. rom chorus to reverd chorus only reverb only the setup-effect settings for.chorus.andeverb are both off + not weed, bince the reception channel Is off 23 The shytnm part wil not be splayed. (4) PAN (T> 11>, ><, <100<7, Rnd, ##) ‘This shows the pan setting of each part, 71> : panned to loft >< + panned to center < 177 : panned to right Rnd: random pan change for each note ## — : notused, since the reception channel Is of 1 The thytnm part wil not be dleplayed. Lat igre ° ° Oo] “ lo Tor pe (5) RSV (0-30, >, ¥*) ‘This shows the number of reserved voices for each part. (0-80. : number of reserved volees 2 notes are sounding which exceed the number of reserved voices 4%: notused, since the reception channel is offBeit Mode (EdD 2. Edit Mode (Edit) In edit mode you can edit setup, patch, timbre, and rhythm set data. Edited settings are temporary, and will be lost when you select another patch/timbre/rhythm set. If you want to keep the current settings, you must write the ata into memory. Precautions when editing White eting, you con hold [JOE] ond pres (ENTER ]to move othe display for writing the current parameter By heldng [JON ]and pressing EXT you cen moveco the dspay for tansmitng the current parameter, 16 you press ENTER] we eng, the value of he selected inking) parameter wil be transite rom MIDI OUT a system exclusive message, However Setup/MIDI or Setp/Mop settings wl not be transmitd Edit-Patch-PartiOuteut 4 Level=127 For example if you press from the above splay, she volume level setting (127) or ‘part 1 wil be transmlted, you have selected the setup parameter master tune, it wil be transmitted from MIDI OUT as 8 control change. a. Setup settings (Setup) ‘These settings affect the setup. Setup settings are always memorized, and there is no need to write them after modifying the setings. [example operation) @UseSTICURSOALE To sxteet “Set” inking) and press © Preep EOD Oumealounson re er or (Ginking) and pres] Edit’Setue-MIbI < Re Susex = ofr eee ae eee Use DIVALUE [Eto modity the value Use EICURSOR Eto select ‘The value of the curenty elected parameter wil Bik. * Retum to the play. dioiey by pressing ERT saver tinea (er bole UPI ond press [ETIVALUEDeit Mode Cea) Mi Master Tune Master Tune 427.4H2—4529H2 MEffect Chorus On/Off Reverb On/Off mLCD LeD Contrast 0-15 mMIDI Rx Ctrl Ch (Rx Control 46 ‘This aunts the pitch of al pons. The depayed value place approximate, indicates the frequency of AS, The decimal EditeSetup-M. Tune. Masber Tune=440). oh (Chom ean be temed on of regards ofthe path sti ings: When this is tumed off, there wil be no coms effect even if chorus ie tmed on for inviual pat in the patch. Reverb ean betumed on ft regards ofthe pitch et ings, When this is tuned of, there wil be no vet effet even if reverb is tumed on for inviusl prt in he path + The on/off settings for chorus/rever are memorized even if you change patches. + The effect sound is output rom MIX OUT Land R. ‘Thisadjsts the conta ofthe display. EditySetue/L00 CD Contrast=1a Channel) 1—16 “This species he channel on vhich rogram changes vill (one 56) I be eceved to see patches ‘his algo determines the channel on which control change daa is received to modify effect parneters EditySetur/MIDI Rx Control Ch=16 »2c Mose (Ea es Rx Patch Change Mep!—<, dir, OFF “This determines how program change data is recived tosletpotches. EditvSetue/MIDI 4Rx Patch Chandesbir > Mapi—a Dr orf Rx Timbre Chango Mep!—< Dir, Off When a program change le received the patch specified by the map will bbe selected. When a program change ls recelved the correspondingly numbered patch willbe selected, + Program changes wil be ignored. ‘This cetermines how each prof the patch wil eeive program change data, When a progr change ‘is received, a tinbre will be selected forthe prt which is eceivng that channel. Edit/Setur-MIDI 4Rx Timbre Change: Mapi—a bir off +: When a program change le recelved the timbre specified by the map wit! bbe selected. When a program change Is recelved the correspondingly numbered ‘timbre will be selected, Program changes wit Jgnored, * tf he conto! channel Is the same as the channel ofthe part for which you want fe select timbres, an incoming program change wil fst select the patch and then select the tbe Rx Rhythm Change Map!—é, Dis, Off ‘This determines how program change data is received by the hyn pt. ‘When a hythm par receives a progeam change it will henge hythm se EditeSetur/MIDI 4kx Rhythm Change: Mept—4 Dir of 1 When a program change ls received the rhythm set specified by the map willbe selected. When = program change is received the correspondingly numbered rhythm set willbe selected. + Program changes will be Ignored, "the contol channel and the rhythm part channel are the seme, an Incoming program change wil frst select the patch and then solect the rhytnm set.Eide Mode (E80 Rx Rinst Assign (Rx Rhythm Inst Assign) Mep!—é, Dic, Off “his determines how the rhythm par wil eeive note dt EditvSetur/MIDI dkx Re Inst. Assign: iro} ‘Map. :-When note data Is-recelved Itl-be converted Into-the-note specified. by the selected map. Dir Note dats wil be recelved. Note numbers will not be converted. of Note data will be Ignored. Rx SysEx (Rx System Exclusive) On, off ‘his determines whether exclusive messages wil be received or not EditySetuecMIDT Rx Susex = OFF > On; Exclusive messages willbe received Of ——_: Exclusive messages will not be recalved ‘White an exclusive message is belng received the following display will appear. Receiving SusEx Device 1D 132 When sending and eeczving exc ve meaages, the two MIDI devices must be sto the same device 1D number. Exclusive messages will not be recived unless the device ID numbers ofthe two devices atch Bai b-Setup/MIDI Susex Device ID:2 Mode (Ea) —_————— eee MMap ‘The U-220 allows you to cree Maps to speify which sound is selected by each focoming rogram change number. THs allows you to select any sound using any program change ‘number. Patch, timbre, rythm Sot, and ehythm instrument each have four maps: Mao. Number Pach Puch (201 P24) Fe 7 Tine C5017 12 Aah set Pantin Set a2 f Mir ator t Message ana 7208 u220 EditySeturctarsPatch Patch Marl #621 9064 ‘When # is dsplayed you can set the map from the U-220's controls. ‘@When setting the map, you can specify the number from the U-220 and also from ‘an extemal MIDI device. Use the following procedure. (Procedure) © waite ntaing GORF J oroea Edit/Setur-Mar/Patch Patch Marl> #621 +064 This ie the sams for Timbre, Fhythm, ond inet Map ‘The wil change to >. 02d Mode (Edd ® when you transmit « program change from the connected Keyboard, A will change to that umber and the number B which ie currently set for that program change wil be displayed © Use A] cursOR [10 move the cursor to ‘memory number you want the program change to select. /aLue [Ese speity he With the ener foated at B you.can repeat steps @ and @ rose program change-numiberrom the keyboard, * Vinen setting the rythm instrument map, set the U-220 and the keyboard to the same ‘wansmieeion reception channels (page 56). * When selecting a patch fom the keyboard while paying, vansmit tne program change on ‘he conto chann ‘When selecting a tméro,ehythm set, o rythm instrument, tranemi the program change data (note data fora thythm ineiument) on the same channel asthe reception channel for tha pant you want to select. ® once gat, botd [JUMP] and press [MARE Jan the > wi returnto & « Patch Map (Patch Change Map) 1—64, Dir, Off ‘This seting determines how program change number are related to patch numbers when selecting patches from an extemal MIDI device. Each pach map determines how the 128 program change numbers cmespnd othe 6 patches Four patch change maps cat be set. The Re Patch Change parameter determines which ofthese four apse wed (page 47) 1-64: The pateh number that wil be selected by the Incoming program change Dir: The Incoming program change will select the patch of the same number Off —_: The Incoming program change will not change the patch hap ‘The sound assigned to U:220 program change umber 2 wt be sencad “Transmitted 192 ae ee Th sound assigned 19 220 program che Prooam Cares New| oy ruber wel ba seta ‘Tha :gronram change wl be recived, but the so --——— ? sound wil not change, EditySetur/Mar Patch Mari? #921 +0642c Mode (Eat) ees Timbre Map (Timbre Change Map) 1—128, Dir, OFF ‘This seingdeterines how program change numbers are rlsed tothe part numberof exch timbre ‘when seletng the time of each par from an extemal MIDI device, Each imbre mp detemnines ow the 128 program change numbers correspond tthe 128 timbres, oursimbre change maps canbe se The Rx Timbre Change parameter determines which af thee four map ie wed page 47) 1-128: The timbre number that will be selected by the Incoming program change Dir ‘The Incoming program change will select the timbre ofthe same number of ‘The Incoming program change will nt change the timbre EditvSetur-Mar Timbre Marit #9405041 Rhythm Map (Rhythm Change Map) 1—d, Dir, Off ‘This sting determines how program change number are related a the rythm set when selesig the ‘hythm st ofthe rythm part from an exter MIDI device Each thythm map determines how the 128 program change nomiberscorespend tothe 4 skythm set numbers, Fost sythm change maps c2n beset ‘The Re Riythm Change parameter detrmines which ofthese four maps i ted. (page 7.) 1-4: The rhythm set number that will be selected by the Incoming program change Dir: The Incoming program change will salect the rhythm set of the same umber Of: The incoming program change will not change the rythm set Edit’Setur/tar Rhuthm Mari #1229005 stEdit Meda (Et) Rinst Map (Rhythm Inst Map) 81—D7, Dic, Of 2 Rivihen Waa! Number 100 Rythm lest Map eI 1-07, On na-+ci er Mr ome ce oseoge 5-01 | a 220 ‘This seting deermines how Rey numbers of an external MIDI insroment are related 10 the key ‘numbers of the U-220 shyt instrument. Each shyt instrument map detennines how each MIDI ‘ey number eoesponds te ech yt instrument number, Four ythm instrament maps can be st ‘The Rx Rinst Assign parameter determines which ofthese four maps i se. (page 48.) BI-D7 _: The key number of the shythm I Incoming key number Dir: The Incoming Key number will play the rhythm Instrument of the ey number Of: The incoming key number will not play a rhythm Instrument svrument which corresponds to each EditvSetur/Mar ReInst Mar2t Ct DirEt Mode (Edt) b. Patch setting (Patch) ‘A patch consists of part settings, effect settings, etc. 64 patches can be stored in internal memory. Edited settings are temporary. If you want to keep your edited settings you must write them into memary (page 80). Powe C Paw Pat 2 Pan 3 Cont Pan & Pan 6 Pan 6 Foyt Par] fect [example operation) @ Yee (T)CURSORLE] so sslest “Porch” inca wees TERS @ Use[@]CURSOATE]te select “Pan” Pree EST Gta) nd eee ESTEE @UseLAICURSOALE Ie sstet “Output” (binkng) and press [ENTER] Edit-PabchePart, icoubeut RESn=Drs} % (Other parometore exist at same love! Use LECURSOR Eto asact the parameter you wish to modity UseLZIVALUELZ to modiy the vate HeeGelPanr sree sect rhe va of the curenty sdected parser wil lk, % Retum t0 the pley dssley by pressing (cr hod TOMB Iend sess (TIVALUE) Mi Naming (Name) Patch Name Each patch canbe given a 12-charcter name, ‘Use [&LJCURSOR [Jo move he eusor and vse [WT] VALUE [LZ Jto change the charter located atthe cur EditePatch-Name Patch Name=pretlessBass * The folowing characters can bo used : space AZ a—2 0-8 ~ / +4. ECD <> TICS 3Ed Mada (Ea) Effect ‘These are the chorus and revesb settings. (© Chorus /Flanger ‘Type Chorut, Chorus2, F&-Chorus, Flanger, Short Delay Sele the ype af cho fem the following five types EditvPatchvEffect-Chorus Tape=FE-Chorus - Ghorist | Rach specious eee (herus2 | Deeb ersoribe effec. especialy efecive for levered stings F8-Chons | An elect midway between chons and Hanger ‘An effect of strony amphatizad ching evertone, especialy offecive fon sounds with 2 strong overtone structure such as HEAVY.EG. ‘Shor Delay [A delay fone’ hs ehor Ure anger Out (Output Mode) Pre Fv, Post Rov “This determines how the chorus and reverb are connected. The output asin setng (page 61) ofeach ‘ar wil determine which effet are sed Pre Fey: Reverb will be added to the sound that has been processed through the chorus. Post Rav : Reverb will not be added to the sound that has been processed through the chorus, EditvPatch-Effect/Chorus 4Gut=Pre Rev Lewel=24p Font Rov og 8 rect out 2 =, it BE recor our ey Eire out 1 =, bry Seseetaaeed Dry Raver L Mx our ev Mx OUT : ‘ bind 7 Daley R ~—=}2Esit Mode (Eat) A — Level o~31 Delay Time 0-31 Rate 0-31 Depth 0-31 Feedback —31—+31 ‘This devermies th volume ofthe eflect processed sound Edit/Patch/Effert Chorus dtut=Fre Reo Level This adjust the nema dla te ofthe chor Hanger EditePatch-Effect-/Chorus: dbelay Time=5 " Rate=10r * For Chorus 1,2, and FB-Chorus, higher setings will result in a more epacious etfect. For Flenger, lower settings wal resut in a stronger fanging etlect, Higher settings wil be loser toa chorus aac. For Short Delay, this adjusts the timing of he repeats. ‘This adjusts the modulation frequency of he chors/ Manges. EditvPatchvEffect/Chorus dbelsu Time=5 — Rate=10F ‘This agus he dept ofthe chores or flanger eect. Edit-Patch-Effect/Chorus 4 Derth=190 Feedback=40r pestive( +) or negative (—) seins, and the effet wil change Bai t/Patch-Effect’Chorus 4 Bei Feedback=10> * This Rata setting has no elect when Short Delay Is solacted. * This Depth seting nas no effect whon Short Delay is selected. This determines the amount of feedback forthe Manger or delay. The phase willbe different for * For Flanger and FB-Chorus tis wil change the character ofthe eect. For Short Delay ‘tis wil determine te numberof repeets, For Chorus 1, 2ithas no elect. $s2st Mode (ED @ Reverb / Delay ‘Type Room!—3, Halll—2, Gate, Delay, Cross Delay ‘This selects the ype of reverb /ely ‘Saraivdeined rove with @ broad sod ‘Smooth reve with greater demth than Foor ‘A sharply uted reverb; Laowted”_toprocedure an arificaly Feet decay ‘Standard aay affect Daley reoests pan to bh and Fah Time 0-31 This ajo the rover tine Tupe=Hallt Edit/Patchveffects® ark Time= 12h Level 0-31 “This ada the level ofthe reverberant sound (delayed sound), * Wen Delay or ross Delay has been eelacted, this adjuts the delay time, dLeve, Edit-PatchEffectcRevert 3 12 Beles Fi Feedback 0-31 This adja the number of delayed repeats ali Edit-Patch-Effect/Reverh Delas FE=i2 * This parameters ettectvo only when Delay or Gross Delay is selected, WController (Ctrl) (Control change data from sn external MIDI device can control three parameters ofthe U-220. ‘Ths allows you to control parameter values of tubes or effects from an extemal MIDI device. ‘You can specify the three control change numbers that will be received, and the three parameters which willbe controled by each control change. 56Ed Mode (Eid se Prm # (Control Number) 0-5, 731, 6426, “This sles the three contol change nomibers tht wil be received EditvPateh-Ctrl Prei=#o¢¢ Timbre Levelb EdityPateh/Ctr] aPrm2e#92 | Er Attack » A.Bend Rate EdityPateh/Ctrl APrms=H2 Perameter Select ‘This specifies the U-220 parameters that wil be affected by each contol change. * IY you nave specified a timbre parameter, snd contol change data from a sequencer of ‘eeyboard on the reception channel ofthe part you wish to cont. * ityou have specified an efect parameter, send convol change data ftom sequencer or keyboard on the control channel ‘Selectable Parameters Deny Parameter Timbre Level | Taie Lew! Env Bttack — | Env Anack Rete Env Decay Eny Decay Ra Env Sustain | tw Sustin Love Eny Release | En Ream Rate F.Bend Derth | Auto Bend Depth AlBand Rate | Auto Bend Rate Tene Poremews | Detune Derth | Deu Depth Vib Rate Vierato ate Vib Yaverorm | virato Waveform Vib Derth Verato Droth Vib Delay Virato Daley Vib RiseTime | vise Rise Time Vib ModDerth | vibrate Modulation Depth Chrs Level | Greve Level Chrs Rate horus Fate Ettect Parents | ChrsFeedback | Chorus Feecbock Rev Level Revers Level DlawFeedback | Delay Fobdeck 72c Mode (Edt) MiPart settings (Partl—6) @Timbre ‘Timbre (Timbre select) 7-001 @ Voice Reserve Voice Reserve 0—30 ‘These settings are made for part 1—6 of each patch. ‘This specifies he timbre which wil be used for ech prt 16 of the pth Ue DZ] VALUE Zio sett ibe Edit-Patch-Parti/Timbre Tinbr BitA.Piana 2 ‘The Voice Reserve parameter is effective when wsing the U220 asx mulkimbral sound module. Voice reserve determines the minimum number of voces (notes of polyphony) that will be reserved for each pat ensuing that even If the maxim nomberofsimaltaneaus nots exceeded, te sound of imporan: pars will nat be ext off. Voice reserves set foreach pa. tis nt possible to make setngs tht would tote over 30 voices for ai pane, Edit-Patch-Parti/U. Rev Usice Reservesa [301 ‘The U-220 ca produce up 0-30 voices (notes) at once. Esch par wil sound fely atl the total of sounding notes reaches 30 voices. When the number of requested voices exestde 30, voices willbe taken (tumed of) from pars which are sounding more notes than their voice reserve setng allows, and these Voices wil be ued to play the new noes. Voices wil be taken in onder low priory from prs which are sounding more tan their qota of reserved notes. * ttvoices are taken tram a part which playing a sound wit a long release, the sound may broak ot unaturally,2Edit Mode (Ea) (Order of priority between parts) Part Prim 1 2 3 4 8 6 ish Progty ———— Low 1 no pans are sounding notes in excess oftheir umber of reserved ote, then the pas to which the request came will the lowest priory pat, and the oles sounding note in that part wil be fumed off 0 make romfor the ney played teins ease-voieeswll not be ke from cher pars * The number specified by the Voice Reserve setting Is the number of voles, and is not related tothe MIDI Note Number which is received. * Tones which uses two voices (DETUNE, DUAL, V-MIX) wll use voices and give up voices by pairs of two voices. When using a two-voiee tone, be sure to eet ite voice reserve ‘setting to an even number. (Refer to page 65, and the tone chart on page 126.) * more than 30 notes are requested, the tring ofthe notes may become inaccurate emt Rx Ch (Rx Channel) 1 16, OFF ‘This sts the reception chanel of exch part 6 inthe patch ‘When paying the patch from a Jeysoar, set the tarsitson chaanel ofthe keyboard to match the reception chnnel ofthe pars you want to play. You can play pant in unison by seting two or more ars tothe same reception channel a he transmission chaael of the keyboard ‘When playing from a sequences, set the reception channel of eich part to match the transmission channel of each rack of data transite by the sequencer Edit-Patch-Parti MIDI Rx Ci K.Range (Key Range) cco ‘his determines the range of nots (key numbers) which willbe ecived by each prt. Specify the key range by the ote names of the lowest and highest notes tobe received. You can pay different pars {rom different areas ofthe keyboard by setng to or more pars to the same reception channel and specifying a different key ange foreach pat. EditvPatch-Parti/MIDI (Kew Range C4 ~ 63 Example : Split bass and brass sounds around the C4 Key Pat Pen Be oh i 7 Wali Range 1-65 oo Tae Bess Sound Brass Sound ‘= Trenarit channel of the keyboard 1 3°eat Mode (Ea) Velo Thresh (Velocity Threshold) Rx Volume On, Off Rx Pan On, off 127 /Above, Bolow “This determines the range of velocies for which each pan will receive note data. You can play siferen sounds For notes of diferent paying streagths by sing two oF more parts to the same reception channel and speciyng a diferent velciy threshold foreach pa, GaitePatch Parti MIDI 40, Th 86 Lvl=Above Example: Softly played notes sound @ fingered bass, stiongry played notes sound 2 slap bass, Parl Pan? fe Gh 7 7 Velosiy, Theshald 5 Below @— 88) | 700 Above (160 — 120, Tinbe. Fingered Bass Sound Bip Bese Sand ‘Frere channel OF he tayboard 1 ‘This switch determines whether or pot each part wil restive volame contra data from an extemal MIDI device. For example you can set two pans fo reesve the same MIDI channel and ws volume contro ats rom an extemal devize to contol ely one ofthe pars. EditvPatchPart1 MIDI 4 ‘On Re Volum * Ifthe reception channel of each partis tumed off, volume data wil not be received even ‘yu tur the volume reception switch on. ‘This switch deteriees wheter or not each pan wll ceive pan data from an exereal MIDI device For eample you canst two pars to receive the same MIDI chanse ad use pan contol data from an ‘extemal devie toon nly one ofthe pt EdittvPatch Part i/MIDI Roe Pan=0FF * tthe reception channel of each parts tuned of, pan data wit not be recelved even It you tum the pan reception switch on.2d Mede (Eid Fx Hold On, oF evtch determines wheber or nat each pit wil receive hold de frm an extemal MIDI vie Fr example you ean se tve pars to receive the same MIDI channel and ase hold dats from an external device f contol only one ofthe pans. Edit-PatchBart 1ZMIDT Foe Hold=0FF * Ifthe reception channel of exch part I turned of, hold data wil not be recelved aven Ht you turn the hols reception swish on. @ output ‘Asan (Output Assign) vy, Rev, Cho, Diel, Dir This selects the effet (chorus, reverb delay) and cuput jek wsed by each par. Chou can be vied in two ways, Pre Rev or Post Rev as detrmined bythe ouput mode ofthe effet (ste page 54) Edit-PatchyParti7Dutput Regn=Drs Pan= Outout Mode Eifea Ouiput Jacke Dy No eect & used Rev, nly Ravers Mx out i re Rev Chorus and Reverd Pst Rov : Only Chorus bet Ne efect i used | OIRECT OUT 7 Dee No efect le wed | OIREDT OUT 2 * Hf aplug isnot inserted into the DIRECT OUT jack, the output of the DIRECT OUT jack vl bbe sent hom MIX OUT. * The rear panel has a FIXED/VARIABLE awiteh, tte MIX OUT jacks are being used, ‘oting this ewitch to Fed wil eet the output at maximum level regardless of the postion ‘of the front panel Volume knob, and seting this swlch to Variable will allow you to reguate the volume using the VOLUME knob. * The FIXED/VARIABLE switch has no etfsct on the sound that Ie being output from DIRECT OUT. You wal not be abieto regulate the volume using the VOLUME knob. ay ina fal, anne TOO) wou? Auto Sond (ae | ed nn ee mas? aaah oO wx our vanaaue pes Volane 6