CHAPTER 3 : SYSTEM EXCLUSIVE DATA

After reading the DB50 manual you are probably thinking one of 3 things.

1 : Where can I sign up for a degree course in ASTROPHYSICS
2:  HELP !!!!!!
3:  I had better call YAMAHA and ask them to explain what it all means.

The world of sysex is very daunting at first. We have all been though it
here at Yamaha, and once you have grasped the main concepts it is a very
rewarding way of working.

Before I go into some typed examples I will try to explain the
fundamentals of SYSEX data.

SYSEX is a way of talking to the DB50 at  one of it's most basic levels.
The DB50 is a computer, and to talk to a computer you need to learn how
to program it. As with computers, application packages are designed to
help make things easier to use, and the excellent XGEDIT by Gary
Gregson, is one such program. If however you wish to modify things at a
real base level then sysex is the way to do it.

Sysex is comprised of a series of data bytes, they have a specific order
and mean specific things when typed in that order. When typed in
incorrectly they will wither do nothing at all or will give an
unexpected result. This is why I have typed out all of the major control
parameters

The data bytes mentioned are in what is known as Hexadecimal. This is a
2 byte alpha numeric format which basically is a number anywhere between
0 and 255 (eg 00 = 00  OA=10  7F= 127)

The data is entered using the sysex editor or event list editor in your
sequencer (more of which is discussed later)  in the following way.

The first data byte (F0) is known as the start of sysex
Byte 2	(43) is the Yamaha ID code
Byte 3 (10) is the device number for the DB50

The next 4 data bytes correspond to the command specific data. If you
imagine these data bytes are saying "ok now I want to change a parameter
such as filter cutoff and give it a value of 127)

then the complete data stream would be as follows

F0 43 10 4C 08 00 18 7F F7

THE 7F IS THE VALUE OF 127, THE (08 00 18) IS TELLING THE DB50 THAT YOU
WISH TO ACCESS THE FILTER CUTOFF PARAMETER.

In specific sequencers please refer to your sequencer manual for
information relating to the input of sysex data

Anyway on with the show..here is the worked example guide.

Controller Name		      Number	Range

Modulation Wheel		1	0-127
Breath Controller		2	0-127
Early DX7 Aftertouch		3	0-127
Foot Controller			4	0-127
Portamento Time			5	0-127
Data Slider			6	0-127
Main Volume			7	0-127
Balance				8	0-127
Pan				10	0-127
Expression			11	0-127
General Purpose #1		16	0-127
General Purpose #2		17	0-127
General Purpose #3		18	0-127
General Purpose #4		19	0-127
LSB's for #'s 0-31		32-63	0-127
Sustain Pedal			64	0 or 127
Soft Pedal			67	0 or 127
Hold 2				69	0 or 127
filter & harmonic content	71-74	0-127
General Purpose #5		80	0 or 127
General Purpose #6		81	0 or 127
General Purpose #7		82	0 or 127
General Purpose #8		83	0 or 127
Tremelo Depth			92	0-127
Chorus Depth			93	0-127
Celeste Depth			94	0-127
Phase Depth			95	0-127
Data Increment			96	0 or 127
Data Increment			97	0 or 127
Non Reg.  Parameter MSB		98	0-127
Non Reg.  Parameter LSB		99	0-127
Reg.  Parameter MSB		100	0-127
Reg.  Parameter LSB		101	0-127
reset all controllers		121	127
Local Control On/Off		122	0 or 127
All Notes Off			123	0
Omni Off			124	0
Omni On				125	0
Mono On (0=omni off)		126	0-16
Poly On				127	0



CHAPTER 4: THE COMPLETE SYSEX GUIDE TO THE DB50/MU80/QS300/SW60/MU50

The following data will allow access to most major parameters, where a
value of nn is inserted this represents the data byte.The data can
either have a value of zero or one if it relates to an on/off switch
command, or can have a value up to 127 ( in hex=7f) if it relates to a
variable parameter such as filter cut-off. A list of decimal to hex
conversions can be found in the DB50 manual. These parameters when
entered into the event list in most sequencers should not be at the same
tick or midi time, also to enable these to work a gm on message must be
sent, and 200 milliseconds later the XG on message, both of which are in
the manual.

Event list editing and the entry of the below parameters should always
be performed after the card has been set into the relevant mode (XG or
GS).


FILTER CUTOFF	F0 43 10 4C 08 00 18 NN F7	(0-127)

THIS CAN ALSO BE DONE WITH CONTROLLERS & NRPN'S (NON REGISTERED
PARAMETER NUMBERS)

RESONANCE	F0 43 10 4C 08 00 19 NN F7
ATTACK TIME	F0 43 10 4C 08 00 1A NN F7
DECAY TIME	F0 43 10 4C 08 00 1B NN F7
RELEASE TIME	F0 43 10 4C 08 00 1C NN F7
PEG INITLVL	F0 43 10 4C 08 00 69 NN F7
PEG ATAK TIME	F0 43 10 4C 08 00 6A NN F7
PEG REL LVL	F0 43 10 4C 08 00 6B NN F7
PEG REL TIME	F0 43 10 4C 08 00 6C NN F7
VIBRATO RATE	F0 43 10 4C 08 00 15 NN F7


VIBRATO DEPTH	F0 43 10 4C 08 00 16 NN F7
VIBRATO DELAY	F0 43 10 4C 08 00 17 NN F7
DETUNE		F0 43 10 4C 08 00 09 08 NN F7
PART MODE	F0 43 10 4C 08 00 07 NN F7
MONO POLY	F0 43 10 4C 08 00 05 NN F7
VEL SENS DEPTH	F0 43 10 4C 08 00 0C NN F7
VEL SENS OFFSET F0 43 10 4C 08 00 0D NN F7

TG300 MODE	F0 43 71 7E 09 01 F7 (SWITCH DB50 TO TG300 MODE)

NOTE LIMIT	F0 43 10 4C 08 00 0F NN F7
NOTE LIMIT HIGH F0 43 10 4C 08 00 10 NN F7
PORAMENTO SW	F0 43 10 4C 08 00 67 00 F7
PORTAMENTO TIME F0 43 10 4C 08 00 68 NN F7
VELOCITY LIMIT	F0 43 10 4C 08 00 6D NN F7
VEL LIMIT HIGH	F0 43 10 4C 08 00 6E NN F7
PITCH BEND CTRL F0 43 10 4C 08 00 23 NN F7
MW LFO MOD	F0 43 10 4C 08 00 20 NN F7
VARIATION SEND	F0 43 10 4C 02 01 5B NN F7
EQ TYPE		F0 43 10 4C 02 40 00 NN F7
80 HZ		F0 43 10 4C 02 40 01 NN F7
500 HZ		F0 43 10 4C 02 40 05 NN F7
1.0 KHZ		F0 43 10 4C 02 40 09 NN F7
4.0 KHZ		F0 43 10 4C 02 40 0D NN F7
8.0 KHZ		F0 43 10 4C 02 40 11 NN F7
REVERB TYPE	F0 43 10 4C 02 01 00 01 NN F7
REVERB TIME	F0 43 10 4C 02 01 02 NN F7
DIFFUSION	F0 43 10 4C 02 01 03 NN F7
INIT DELAY	F0 43 10 4C 02 01 04 NN F7
HPF CUTOFF	F0 43 10 4C 02 01 05 NN F7
LPF CUTOFF	F0 43 10 4C 02 01 06 NN F7
REV PAN		F0 43 10 4C 02 01 0D NN F7
CHORUS TYPE	F0 43 10 4C 02 01 20 41 NN F7
LFO FREQ	F0 43 10 4C 02 01 22 NN F7
LFO PM DEPTH	F0 43 10 4C 02 01 23 NN F7
FB LEVEL	F0 43 10 4C 02 01 24 NN F7
DELAY OFSET	F0 43 10 4C 02 01 25 NN F7
CHORUS PAN	F0 43 10 4C 02 01 2D NN F7

SEND CHO-REV	F0 43 10 4C 02 01 2E NN F7
VARIATION TYPE	F0 43 10 4C 02 01 40 NN NN F7

THE FOLLOWING IS A LIST OF DATA TO ENTER INTO THE ABOVE NN NN MSB AND
LSB DATA BYTES

REVERB
Exclusive	Effect Type
MSB	LSB
00	00	NO EFFECT
01	00	HALL1
01	01	HALL2
02	00	ROOM1
02	01	ROOM2
02	02	ROOM3
03	00	STAGE1
03	01	STAGE2
04	00	PLATE
10	00	WHITE ROOM
11	00	TUNNEL
13	00	BASEMENT
CHORUS
Exclusive	Effect Type
MSB	LSB
00	00	NO EFFECT
41	00	CHORUS1
41	01	CHORUS2
41	02	CHORUS3
41	08	CHORUS4
42	00	CELESTE1
42	01	CELESTE2
42	02	CELESTE3
42	08	CELESTE4
43	00	FLANGER1
43	01	FLANGER2
43	08	FLANGER3
VARIATION
Exclusive	Effect Type
MSB LSB
00	00	NO EFFECT
01	00	HALL1
01	01	HALL2
02	00	ROOM1
02	01	ROOM2
02	02	ROOM3
03	00	STAGE1
03	01	STAGE2
04	00	PLATE
05	00	DELAY L,C,R
06	00	DELAY L,R
07	00	ECHO
08	00	CROSS DELAY
09	00	EARLY REF1
09	01	EARLY REF2
0A	00	GATE REVERB  (FOR THOSE BIG SNARE SOUNDS)
0B	00	REVERSE GATE
41	00	CHORUS1
41	01	CHORUS2
41	02	CHORUS3
41	08	CHORUS4
42	00	CELESTE1
42	01	CELESTE2     (THICK, LUSH GREAT FOR PADS)
42	02	CELESTE3
42	08	CELESTE4
43	00	FLANGER1
43	01	FLANGER2
43	08	FLANGER3
44	00	SYMPHONIC
45	00	ROTARY SPEAKER	(GREAT FOR ORGAN SOUNDS)
46	00	TREMOLO
47	00	AUTO PAN
48	00	PHASER1 (INSTANT 80'S SYNTH SOUND)
48	08	PHASER2 (LUSH FOR STRINGS)
49	00	DISTORTION
4A	00	OVER DRIVE
4B	00	AMP SIMULATOR	(STACK OR COMBO OPTIONS FOR GREAT ROARS)
4C	00	3BAND EQ(MONO)	LOW, MID, HIGH
4D	00	2BAND EQ(STEREO
4E	00	AUTO WAH(LFO)
50	00	PITCH CHANGE
55	00	VOICE CANCEL
40	00	THRU

DID WE SAY THAT THE EFFCECTS PROCESSORS WERE POWERFUL OR WHAT !!!!!!,
TRY DOING THAT LOT ON ANY OTHER CARD IN EXISTANCE.


VARIATION CONNECTION	F0 43 10 4C 02 01 5A NN F7

THIS NEEDS TO BE SET TO SYSTEM MODE TO GET EFFECTS ON EACH MIDI CHANNEL
IN THIS CASE NN NEEDS TO BE SET TO 1


DISTORTION (INS MODE)	F0 43 10 4C 03 00 00 NN 00 F7
DISTORTION PART NO	F0 43 10 4C 03 00 0C NN F7
NOTE SHIFT		F0 43 10 4C 08 00 08 NN F7
DRUM PITCH COARSE	F0 43 10 4C 30 18 00 NN F7
DRUM PITCH FINE		F0 43 10 4C 30 18 01 NN F7

DRUM LEVEL		F0 43 10 4C 30 18 02 NN F7
DRUM PAN		F0 43 10 4C 30 18 04 NN F7
REV SEND   DRUM		F0 43 10 4C 30 18 05 NN F7
DRUM CHO SEND		F0 43 10 4C 30 18 06 NN F7
DRUM VAR SEND		F0 43 10 4C 30 18 07 NN F7
DRUM FILTER CUTOFF	F0 43 10 4C 30 18 0B NN F7
DRUM RESONANCE		F0 43 10 4C 30 18 0C NN F7
DRUM ALTER GROUP	F0 43 10 4C 30 18 03 NN F7
DRUM ATTACK		F0 43 10 4C 30 18 0D NN F7
DRUM EG DECAY		F0 43 10 4C 30 18 0E NN F7
DRUM DECAY 2		F0 43 10 4C 30 18 0F NN F7


EFFECTS ASSIGNMENT SETUP DATA TABLE

THE FOLLOWING DATA ALLOWS ENTRY OF A DATA INTO THE VARIOUS LISTED
EFFECTS (SUCH AS LFO), SO THAT PRECISE EFFECTS TYPES CAN BE SET UP.

These data bytes need to been inserted within the correct parameter for
each effect. For this section you may need to refer to the original
manual to look at the tables for each effect type, and the parameter
that you wish to edit. With the knowledge gained from this guide , this
should not really be too daunting....HONEST !

LFO Frequency (Hz) (CAN BE APPLIED TO CHORUS OR FLANGER FOR SWEEP TIMES)
Data	Value	Data	Value	Data	Value
0	0.00	43	1.81	86	5.38
1	0.04	44	1.85	87	5.55
2	0.08	45	1.89	88	5.72
3	0.13	46	1.94	89	6.06
4	0.17	47	1.98	90	6.39
5	0.21	48	2.02	91	6.73
6	0.25	49	2.06	92	7.07
7	0.29	50	2.10	93	7.40
8	0.34	51	2.15	94	7.74
9	0.38	52	2.19	95	8.08
10	0.42	53	2.23	96	8.41

Table#2

Modulation Delay Offset

Data	Value	Data	Value	Data	Value
0	0.0	43	4.3	86	8.6
1	0.1	44	4.4	87	8.7
2	0.2	45	4.5	88	8.8
3	0.3	46	4.6	89	8.9
4	0.4	47	4.7	90	9.0
5	0.5	48	4.8	91	9.1
6	0.6	49	4.9	92	8.2
7	0.7	50	5.0	93	9.3
8	0.8	51	5.1	94	9.4
9	0.9	52	5.2	95	9.5

Table#3
EQ Frequency (Hz)

Data	Value	Data	Value
0  THRU(20)	43	2.8k
1	22	44	3.2k
2	25	45	3.6k
3	28	46	4.0k
4	32	47	4.5k
5	36	48	5.0k
6	40	49	5.6k
7	45	50	6.3k
8	50	51	7.0k
9	56	52	8.0k
10	63	53	9.0k

Table#4
Reverb Time

Data	Value	Data	Value
0	0.3	43	4.6
1	0.4	44	4.7
2	0.5	45	4.8
3	0.6	46	4.9
4	0.7	47	5.0
5	0.8	48	5.5
6	0.9	49	6.0
7	1.0	50	6.5
8	1.1	51	7.0
9	1.2	52	7.5
10	1.3	53	8.0

Table#5
Delay Time

Data	Value	Data	Value	Data	Value
0	0.1	43	67.8	86	135.5
1	1.7	44	69.4	87	137.0
2	3.2	45	70.9	88	138.6
3	4.8	46	72.5	89	140.2
4	6.4	47	74.1	90	141.8
5	8.0	48	75.7	91	143.3
6	9.5	49	77.2	92	144.9
7	11.1	50	78.8	93	146.5
8	12.7	51	80.4	94	148.1
9	14.3	52	81.9	95	149.6

Table#6
Room Size (can be used with any of the reverb types)
Data	Value	Data	Value
0	0.1	43	6.8
1	0.3	44	7.0
2	0.4
3	0.6
4	0.7
5	0.9
6	1.0
7	1.2
8	1.4
9	1.5
10	1.7

Table#7
Delay Time

Data	Value	Data	Value	Data	Value
0	0.1	43	135.5	86	270.9
1	3.2	44	138.6	87	274.0
2	6.4	45	141.8	88	277.2
3	9.5	46	144.9	89	280.3
4	12.7	47	148.1	90	283.5
5	15.8	48	151.2	91	286.6
6	19.0	49	154.4	92	289.8
7	22.1	50	157.5	93	292.9
8	25.3	51	160.7	94	296.1
9	28.4	52	163.8	95	299.2
10	31.6	53	167.0	96	302.4

Table#8
Reverb Width; Depth; Height ([^[)

Data	Value	Data	Value	Data	Value
0	0.5	43	11.8	86	24.2
1	0.8	44	12.1	87	24.5
2	1.0	45	12.3	88	24.9
3	1.3	46	12.6	89	25.2
4	1.5	47	12.9	90	25.5
5	1.8	48	13.1	91	25.8
6	2.0	49	13.4	92	26.1
7	2.3	50	13.7	93	26.5
8	2.6	51	14.0	94	26.8
9	2.8	52	14.2	95	27.1
10	3.1	53	14.5	96	27.5

TG300B MODE SYSEX COMMANDS (dont tell Roland !!!, but these are GS
commands..in other words, your DB50/MU50/SW60/QS300/MU10 is a fully
functional Sound Canvas as well)

				PART MODE (DRUM OR NORMAL)

F0 43 10 2B 02 01 17 00 66 F7 - NORMAL MODE

F0 43 10 2B 02 01 17 01 65 F7 - DRUM MODE

F0 43 10 2B 02 01 00 00 7D F7 - ELEMENT RESERVE NO.

F0 43 10 2B 02 01 15 00 68 F7 - MONO POLY MODE SELECT

F0 43 10 2B 02 01 18 40 25 F7 - NOTE SHIFT

F0 43 10 2B 02 01 1C 40 21 F7 - VEL SENS DEPTH

Reset GS	F0 41 10 42 12 40 00 7F 00 41 F7

Master Volume	F0 41 10 42 12 40 00 04 7F 3D F7 (ALL 16 CHANNELS)

Part ON/OFF

The following messages allow  you to turn specific MIDI channels ON/OFF
so that you can use these channels for other external equipment.

Part		Status		Message

1		OFF		F0 41 10 42 12 40 11 02 10 1D F7
		ON		F0 41 10 42 12 40 11 02 00 2D F7
2		OFF		F0 41 10 42 12 40 12 02 10 1C F7
		ON		F0 41 10 42 12 40 12 02 01 2B F7
3		OFF		F0 41 10 42 12 40 13 02 10 1B F7
		ON		F0 41 10 42 12 40 13 02 02 29 F7
4		OFF		F0 41 10 42 12 40 14 02 10 1A F7
		ON		F0 41 10 42 12 40 14 02 03 27 F7
5		OFF		F0 41 10 42 12 40 15 02 10 19 F7
		ON		F0 41 10 42 12 40 15 02 04 25 F7
6		OFF		F0 41 10 42 12 40 16 02 10 18 F7
		ON		F0 41 10 42 12 40 16 02 05 23 F7
7		OFF		F0 41 10 42 12 40 17 02 10 17 F7
		ON		F0 41 10 42 12 40 17 02 06 21 F7
8		OFF		F0 41 10 42 12 40 18 02 10 16 F7
		ON		F0 41 10 42 12 40 18 02 07 1F F7
9		OFF		F0 41 10 42 12 40 19 02 10 15 F7
		ON		F0 41 10 42 12 40 19 02 08 1D F7
10		OFF		F0 41 10 42 12 40 10 02 10 1E F7
		ON		F0 41 10 42 12 40 10 02 09 25 F7
11		OFF		F0 41 10 42 12 40 1A 02 10 14 F7
		ON		F0 41 10 42 12 40 1A 02 0A 1A F7
12		OFF		F0 41 10 42 12 40 1B 02 10 13 F7
		ON		F0 41 10 42 12 40 1B 02 0B 18 F7
13		OFF		F0 41 10 42 12 40 1C 02 10 12 F7
		ON		F0 41 10 42 12 40 1C 02 0C 16 F7
14		OFF		F0 41 10 42 12 40 1D 02 10 11 F7
		ON		F0 41 10 42 12 40 1D 02 0D 14 F7
15		OFF		F0 41 10 42 12 40 1E 02 10 10 F7
		ON		F0 41 10 42 12 40 1E 02 0E 12 F7
16		OFF		F0 41 10 42 12 40 1F 02 10 0F F7
		ON		F0 41 10 42 12 40 1F 02 0F 10 F7

THESE ONLY WORK IN TG300B/GS MODE

Reverb Macro

Room 1				F0 41 10 42 12 40 01 30 00 0F F7
Room 2				F0 41 10 42 12 40 01 30 01 0E F7
Room 3				F0 41 10 42 12 40 01 30 02 0D F7
Hall 1				F0 41 10 42 12 40 01 30 03 0C F7
Hall 2 (default)		F0 41 10 42 12 40 01 30 04 0B F7
Plate				F0 41 10 42 12 40 01 30 05 0A F7
Delay				F0 41 10 42 12 40 01 30 06 09 F7
Panning Delay			F0 41 10 42 12 40 01 30 07 08 F7

Reverb Character Types

Character type 1		F0 41 10 42 12 40 01 31 00 0E F7
Character type 2		F0 41 10 42 12 40 01 31 01 0D F7
Character type 3		F0 41 10 42 12 40 01 31 02 0C F7
Character type 4		F0 41 10 42 12 40 01 31 03 0B F7
Character type 5		F0 41 10 42 12 40 01 31 04 0A F7
Character type 6		F0 41 10 42 12 40 01 31 05 09 F7
Character type 7		F0 41 10 42 12 40 01 31 06 08 F7
Character type 8		F0 41 10 42 12 40 01 31 07 07 F7

Chorus Macro

Chorus 1			F0 41 10 42 12 40 01 38 00 07 F7
Chorus 2			F0 41 10 42 12 40 01 38 01 06 F7
Chorus 3 (default)		F0 41 10 42 12 40 01 38 02 05 F7
Chorus 4			F0 41 10 42 12 40 01 38 03 04 F7
Feedback Chorus			F0 41 10 42 12 40 01 38 04 03 F7
Flanger				F0 41 10 42 12 40 01 38 05 02 F7
Short Delay			F0 41 10 42 12 40 01 38 06 01 F7
Short Delay Feedback		F0 41 10 42 12 40 01 38 07 00 F7

Voice Reserve

(aa=part 1 to pp=part 16 are (hex) no. of voices for each part which
must total 24)

F0 41 10 42...
...12 40 01 10 aa bb cc dd ee ff gg hh ii jj kk ll mm nn oo pp 17 F7

Second Drum Kit

MIDI Channel 10 is usually the only drum channel. This command allows
MIDI Channel 11 to also be a drum channel so that that you can use two
drum kits simultaneously.

MIDI Channel 11 = Drum Channel	    F0 41 10 42 12 40 1A 15 02 0F F7
MIDI Channel 11 = Normal Channel    F0 41 10 42 12 40 1A 15 00 11 F7


Random Pan

Random Pan -Part 1		F0 41 10 42 12 40 10 1C 00 14 F7
Random Pan -Part 2		F0 41 10 42 12 40 11 1C 00 13 F7
Random Pan -Part 3		F0 41 10 42 12 40 12 1C 00 12 F7
Random Pan -Part 4		F0 41 10 42 12 40 13 1C 00 11 F7
Random Pan -Part 5		F0 41 10 42 12 40 14 1C 00 10 F7
Random Pan -Part 6		F0 41 10 42 12 40 15 1C 00 0F F7
Random Pan -Part 7		F0 41 10 42 12 40 16 1C 00 0E F7
Random Pan -Part 8		F0 41 10 42 12 40 17 1C 00 0D F7
Random Pan -Part 9		F0 41 10 42 12 40 18 1C 00 0C F7
Random Pan -Part 10		F0 41 10 42 12 40 19 1C 00 0B F7
Random Pan -Part 11		F0 41 10 42 12 40 1A 1C 00 0A F7
Random Pan -Part 12		F0 41 10 42 12 40 1B 1C 00 09 F7
Random Pan -Part 13		F0 41 10 42 12 40 1C 1C 00 08 F7
Random Pan -Part 14		F0 41 10 42 12 40 1D 1C 00 07 F7
Random Pan -Part 15		F0 41 10 42 12 40 1E 1C 00 06 F7
Random Pan -Part 16		F0 41 10 42 12 40 1F 1C 00 05 F7

ROLAND Controller Messages (For GS Instruments only/ oh....and the
DB50/SW60/ AND ANYTHING ELSE WITH AN XG BADGE ON IT..)

Macro Editing

Parameter	  Controller 99	   Controller 98	Controller 6
						     min   normal   max
Vibrato Rate		01		08	     14	     64	    114
Vibrato Depth		01		09	     14	     64	    114
Vibrato Delay		01		10	     14	     64	    114
Filter Cutoff		01		32	     14	     64	    114
Resonance		01		33	     14	     64	    114
TVF/TVA Attk time	01		99	     14	     64	    114
TVF/TVA Decy time	01		100	     14	     64	    114
TVF/TVA Rlse time	01		102	     14	     64	    114

Example: to change resonance to 100, send (on relevant MIDI channel):
Controller 99=01 then Controller 98=33 then Controller 6=100

Transpose Part

Send this on the MIDI channel of the part you want to transpose:
Controller 101=0, Controller 100=2, Controller 6 =X
Where X is between 40 and 88 inclusive (64 is normal, steps are in
semitones) .

Fine Tune

Controller 101=0, Controller 100=1, Controller 6 =X
Where X is between 40 and 88 inclusive (64 is 440Hz, steps are in approx
1.5 cents) . eg. CC6=36 will be 430 Hz, CC6=115 will be 460 Hz

Pitch Bend Range

Send this on the MIDI channel of the part you want to change the Pitch
Bend Range:
Controller 101=0, Controller 100=0, Controller 6 =X
Where X is no. of half steps between 0 and 24 inclusive, 2 is default
(2 semitones) .

Drum Editing

Parameter	  Controller  99   Controller 98	Controller 6
						     min   normal   max
Drum Pitch Coarse	24	    Note number	     0	     64	    127
Drum Level		26	    Note number	     0		    127
Drum Pan		28	    Note number	     0 = Random,
						     1	     64	    127
Drum Reverb Send	29	    Note number	     0		    127
Drum Chorus Send	30	    Note number	     0		    127

SUCKING VOICES OUT OF A SOUND CANVAS AND FIRING THEM INTO THE DB50...FUN
& GAMES

The following codes allow you to go over to a mates house, with a copy
of cakewalk, type these codes in, and watch his or her sound canvas have
the life sucked out of it.

SO AGAIN WE STATE- YOU HAVE JUST BOUGHT THE MOST POWERFUL SOUND CARD ON
THE PLANET, AND IT IS NOW GOING TO TURN ITSELF INTO A 799 ROLAND
MODULE....CAN WE DO NO WRONG ?

Roland SoundCanvas Complete	F0 41 10 42 11 48 00 00 00 1D 10 0B F7
Roland SoundCanvas Efects/Comon F0 41 10 42 11 48 00 10 00 01 00 27 F7
Roland SoundCanvas Part 01	F0 41 10 42 11 48 02 70 00 01 60 65 F7
Roland SoundCanvas Part 02	F0 41 10 42 11 48 04 50 00 01 60 03 F7
Roland SoundCanvas Part 03	F0 41 10 42 11 48 06 30 00 01 60 21 F7
Roland SoundCanvas Part 04	F0 41 10 42 11 48 08 10 00 01 60 3F F7
Roland SoundCanvas Part 05	F0 41 10 42 11 48 09 70 00 01 60 5E F7
Roland SoundCanvas Part 06	F0 41 10 42 11 48 0B 50 00 01 60 7C F7
Roland SoundCanvas Part 07	F0 41 10 42 11 48 0D 30 00 01 60 1A F7
Roland SoundCanvas Part 08	F0 41 10 42 11 48 0F 10 00 01 60 38 F7
Roland SoundCanvas Part 09	F0 41 10 42 11 48 10 70 00 01 60 57 F7
Roland SoundCanvas Part 10	F0 41 10 42 11 48 01 10 00 01 60 46 F7
Roland SoundCanvas Part 11	F0 41 10 42 11 48 12 50 00 01 60 75 F7
Roland SoundCanvas Part 12	F0 41 10 42 11 48 14 30 00 01 60 13 F7
Roland SoundCanvas Part 13	F0 41 10 42 11 48 16 10 00 01 60 31 F7
Roland SoundCanvas Part 14	F0 41 10 42 11 48 17 70 00 01 60 50 F7
Roland SoundCanvas Part 15	F0 41 10 42 11 48 19 50 00 01 60 6E F7
Roland SoundCanvas Part 16	F0 41 10 42 11 48 1B 30 00 01 60 0C F7

THE EXTRA DATA BYTE ON THE ROLAND CODES IS DUE TO THE NEED FOR A
CHECKSUM (YAMAHA XG MODE ALREADY CALCULATES THIS, AND IS THEREFORE NOT
NECESSARY)...ARE WE COOL OR WHAT !! RAP10 MODE

As the Roland Rap-10 is also from the same stable as the sound canvas
series, input of RAP10 sysex data should again cause no problems to the
DB50....and low and behold..it doesn't...coool !

RAP 10 EFFECTS SETTINGS :

ROOM 1 : F0 41 10 56 12 00 00 00 00 00 F7
ROOM 2 : F0 41 10 56 12 00 00 00 01 7F F7
ROOM 3 : F0 41 10 56 12 00 00 00 02 7E F7
HALL 1 : F0 41 01 56 12 00 00 00 03 7D F7

ETC...ETC...ETC.

It may be worth getting a copy of this sysex chart from Roland (only if
they don't charge money for it !!!)

From the above coupled with the knowledge you have gained from the
worked examples in the XG section you should be able to now access any
one of the TG300 parameters listed in the guide & manual.

TURNING OFF CHANNELS ON THE DB50XG

With the Db50 having 16 parts, and each part having an assignable midi
channel individual parts can be switched off. To do this requires the
use of a system exclusive message.

THE MESSAGE IS AS FOLLOWS

F0 43 10 4C 08 NN 04 7F F7

Where nn is the part number, or midi channel no. (EG 01 - 0F)

This is of particular interest to people who have SoundBlaster Midi
interface cards which have no ability to differentiate between the
external midi ports and the waveblaster socket.

NRPN'S - WHAT ARE THEY ???

You may have heard about the term NRPN, this stands for NON REGISTERED
PARAMETER NUMBER. These can be use for specific things such as filter
cutoff or for pitch changes, and are espacially useful for changing drum
sounds,for example to create booming kick drums or fizzy hi hats.

NRPN entry requires several data bytes to be fed into you sequencer
event list, the controller messages are 99 and 98 in that order, I will
now give a worked example for changing the pitch of the kick drum.

CONTROLLER     VALUE		WHAT IT DOES
99		24	    TELLS THE DB50 THAT PITCH IS TO BE CHANGED
98		36	    TELLS THE DB50 THAT SOUND 36 (KICK) IS THE 1
6		NN	    ENTER YOU OWN DAT FOR THE PITCH OF THE KICK

IN TG300 MODE YOU NEED TO TELL THE SYSTEM TO ENABLE NRPN'S ON DRUM
SOUNDS. TO DO THIS SEND THE FOLLOWING SYSEX.

F0 41 10 56 12 01 00 01 01 7D F7

FUN FUN FUN  !!!!

CHAPTER 5 : SEQUENCER SPECIFICS

USING THE ABOVE IN TWELVE TONE SYSTEMS CAKEWALK

These events should be entered as system exclusive banks in the Cakewalk
program. If you select VIEW from the options menu at the top of the
screen then option to edit and display sysex. The user then inserts the
sysex stream of data and labels it with either a name or a number.

This number is then inserted into the event list, by opening up the
event list page and hitting the insert key, and selecting SYSEX as the
event type. The value of the number associated with the sysex byte is
then inserted.

A similar procedure is used for POWER TRACKS PRO

CUBASE allows direct entry of the sysex stream into the event list, in a
similar way to cakewalk, but in the case of CUBASE the data is entered
not as a single number but as a complete sysex stream.

EG  F0 7E 7F 09 01 F7			THIS IS GM ON
    F0	41 10 42 12 40 00 7F 00 41 F7	THIS IS GS ON
    F0 43 10 4C 00 00 7E 00 F7		THIS IS XG ON

As a rule of thumb it is a very good idea at the beginning of all of
your sequncer tracks to have a GM on command first, followed by an XG or
GS on command 200 milliseconds later.

The card can be both GM & XG or GM & GS compatible at the same time. It
cannot however run in both XG and GS at the same time.

THE USE OF CONTROLLERS

Controller information allows real-time expression to be added to a
track, whether it be a filter sweep or resonance, or a modification to
attack time. XG protocol allows much more expressive real-time control
than ever before, with multiple simultaneous controller information
allowed

A list of controllers that may be applied to any XG compatible device
can be found in the DB50 manual

EFFECTS PROCESSING APPLICATIONS

As mentioned before, the Db50 has 3 independent effects processors each
of which can have their own send and return levels, along with cross
modulation options. By cross modulation I mean that the output from one
effect processor can be routed to another, i.e you can send chorus to
reverb or variation to reverb to create a different effect on each
channel.

Send and return levels can be easily explained by imagining a floor
effect pedal such as those used by guitar players. If they wish to use
this in conjunction with an amplifier they would normally route this to
the effect send on the back of the amp. The amp would then have a rotary
pot on the front which defined the send level, or amount of the
amplified main guitar sound being sent to the effect processor. With
mixing desks you also have the luxury of a return level , so that you
can decide how much of the effect is then sent back into the main
signal path.

The options are listed below

CHORUS SEND LEVEL
CHORUS TO REVERB SEND
VARIATION SEND LEVEL
VARIATION TO CHORUS SEND LEVEL
VARIATION TO REVERB SEND LEVEL
REVERB SEND LEVEL
CHORUS RETURN LEVEL
VARIATION RETURN LEVEL
REVERB RETURN LEVEL

All of the above can be set independently for each of the midi channels,
giving you more than the standard 3 options.

DB50 XG is also the first sound card to respond to polyphonic after
touch, this facility allows individual expression to be applied to
individual keys ( i.e. adding filter resonance to the top note in a
chord sequence). Most keyboards on the market cannot send out POLY KEY,
one notable exception is the Ensoniq range (SQ80,EPS,TS,VFX,AND ASR)

Polyphonic aftertouch allows subtleties to be added to an instrumental
solo that was never before possible on a sound card.

APPLICATION OF CONTROLLER INFORMATION IN REAL-TIME USING TWELVE TONE
SYSTEMS CAKEWALK SOFTWARE.

The ability within the Cakewalk environment to add controller
information is not unique, but the way in which it can be applied from
the cakewalk fader page is very easy.

As mentioned before the DB50 responds to a host of controller messages.
Modifications to filters, chorus levels, resonance etc etc can be sent
out in real time from even a basic sequencer package with ease.

A controller message is exactly as it sounds, it allows control of a
specific parameter. Controllers may either be drawn in using the pencil
tool or added in real time using the definable fader page.

On selection of the fader page within Cakewalk Pro , the user can then
define either a rotary control pot or a fader page to any controller
number, a group function allows multiple controllers to be assigned at
any one time and moved simultaneously.

The Controllers view page allows the user to draw in manual corrections
to the data that has been fed in via the fader page , or to draw in
accurate control applications such as filter cutoff.

Above you can sse a typical track setup within the event list editor on
cakewalk

CUBASE

User definable mixer maps allow complex sysex and controller information
to be applied within the Cubase environment. A full description on this
can be found in the Cubase user manual.

It is by far the most flexible system for controller and sysex
information on any sequencer platform, allowing the user to define
either a fader, knob , or rotary pot, and then apply any data in effect
to this .

This feature is only found in Cubase score, Cubase Audio, but not in
Cubase Compact, Lite or Cubasis.

THE BIT YOU'VE ALL BEEN WAITING FOR....PLEASE DONT CONTACT US ON THIS
ONE , AS IT IS A BIT SENSITIVE..BUT HERE IS THE DATA TO DO SOME ...HOW
CAN WE SAY...QS300 TYPE THINGS WITH YOUR DB50

F0 43 1n 4B 10 00 pp dd...dd F7 ;current normal voice parameter change
F0 43 1n 4B 2e 00 pp dd...dd F7 ;current normal element parameter change

Now dont forget that the DB50 will only load the first 2 elemenets from
the QS300 voices (and some of them can use up to 4 elements)

n;device number,e=element number(0...3),pp=parameter address low,dd;data

Parameter Bass Address

	    Parameter Change

	    Address

	    (H) (M) (L) Description
SYSTEM	    00	00  00	All System

NORMALVOICE 10	00  00	Current Normal Voice
	    11	00  00	User Normal Voice1 with Element(Bulk Dump Only)
	    :	:   :	:
	    11	7F  00	User Normal Voice128 with Element(Bulk Dump Only)
NORMAL ELEM 20	00  00	Current Normal Voice Element1(Parameter Change Only)
	    :	:   :	:
	    23	00  00	Current Normal Voice Element4(Parameter Change Only)
DRUM KEY    30	18  00	Drum Voice Key C0
	    :	:   :	:
	    30	54  00	Drum Voice Key C5
DRUM COMMON 40	00  00	Drum Voice Common

MIDI Parameter	Change	table ( NORMAL VOICE COMMON)

Address	   Size	 Data	Prameter Name		Description
(H)	    (H)	 (H)
10  00	00   1	20..7E	Voice Name1		32..126(ASCII)
	01   1	20..7E	Voice Name2		32..126(ASCII)
	02   1	20..7E	Voice Name3		32..126(ASCII)
	03   1	20..7E	Voice Name4		32..126(ASCII)
	04   1	20..7E	Voice Name5		32..126(ASCII)
	05   1	20..7E	Voice Name6		32..126(ASCII)
	06   1	20..7E	Voice Name7		32..126(ASCII)
	07   1	20..7E	Voice Name8		32..126(ASCII)
	08   1	20..7E	Voice Name9		32..126(ASCII)
	09   1	20..7E	Voice Name10		32..126(ASCII)
	0A   1	00..15	Voice Category		00..21(--..Wv)
	0B   1	00..0F	Element Switch		Bit0..Bit3;EL1..EL4
						0/1;off/on
	0C   1	00..7F	Voice Level		0..127
	0D   1	00..7F	Velocity Sens Depth	0..127
	0E   1	00..7F	Velocity Sens Offset	0..127
	0F   1	00..7F	Reverb Send Level	0..127
	10   1	00..7F	Chorus Send Level	0..127
	11   1	00..7F	Send Chorus To Reverb	-$B!g(B..0..+6dB(0..96..127)
	12   2	00..7F	Variation Type MSB	Ef. Program List
		00..7F	Variation Type LSB	00 : basic type
	14   2	00..7F	Variation Param 1 MSB	Ef. Parameter List
		00..7F	Variation Param 1 LSB	$B!7(B
	16   2	00..7F	Variation Param 2 MSB	Ef. Parameter List
		00..7F	Variation Param 2 LSB	$B!7(B
	18   2	00..7F	Variation Param 3 MSB	Ef. Parameter List
		00..7F	Variation Param 3 LSB	$B!7(B
	1A   2	00..7F	Variation Param 4 MSB	Ef. Parameter List
		00..7F	Variation Param 4 LSB	$B!7(B
	1C   2	00..7F	Variation Param 5 MSB	Ef. Parameter List
		00..7F	Variation Param 5 LSB	$B!7(B
	1E   1	00..7F	Variation Attenuate Lvl 0..127
	1F   1	00..7F	Variation Param 10 LSB	Ef. Parameter List
	20   1	00..01	Play Mode		0/1;mono/poly
	21   1	00..01	Portament Switch	0/1;off/on
	22   1	00..127 Portamento Time		0..127
	23   1	28..58	Bend Wheel Pitch Ctrl.	-24..+24(semitones)
	24   1	00..7F	Bend Wheel Cutoff Ctrl. -9600..+9600(cent)
	25   1	00..7F	Bend Wheel Amp Ctrl.	-100..+100(%)
	26   1	00..7F	Bend Wheel PM Ctrl.	0..127
	27   1	00..7F	Bend Wheel FM Ctrl.	0..127
	28   1	00..7F	Bend Wheel AM Ctrl.	0..127
	29   1	28..58	Mod. Wheel Pitch Ctrl.	-24..+24(semitones)
	2A   1	00..7F	Mod. Wheel Cutoff Ctrl. -9600..+9600(cent)
	2B   1	00..7F	Mod. Wheel Amp Ctrl.	-100..+100(%)
	2C   1	00..7F	Mod. Wheel PM Ctrl.	0..127
	2D   1	00..7F	Mod. Wheel FM Ctrl.	0..127
	2E   1	00..7F	Mod. Wheel AM Ctrl.	0..127
	2F   1	01..7F	Mod. Wheel VariEf Ctrl	-63..+63
	30   1	28..58	After Touch Pitch Ctrl. -24..+24(semitones)
	31   1	00..7F	After Touch Cutoff Ctrl.-9600..+9600(cent)
	32   1	00..7F	After Touch Amp Ctrl.	-100..+100(%)
	33   1	00..7F	After Touch PM Ctrl.	0..127
	34   1	00..7F	After Touch FM Ctrl.	0..127
	35   1	00..7F	After Touch AM Ctrl.	0..127
	36   1	28..58	Foot Cont. Pitch Ctrl.	-24..+24(semitones)
	37   1	00..7F	Foot Cont. Cutoff Ctrl. -9600..+9600(cent)
	38   1	00..7F	Foot Cont. Amp Ctrl.	-100..+100(%)
	39   1	00..7F	Foot Cont. PM Ctrl.	0..127
	3A   1	00..7F	Foot Cont. FM Ctrl.	0..127
	3B   1	00..7F	Foot Cont. AM Ctrl.	0..127
	3C   1	01..7F	Foot Cont. VariEf Ctrl. -63..+63

MIDI Parameter	Change	table ( NORMAL VOICE ELEMENT)

Address	   Size	 Data	Prameter Name		Description
(H)	    (H)	 (H)
2e  00	00   2	0000	Wave Num		1st Bit13..7
		..3FFF				2nd Bit6..0
	02   1	00..7F	Note Limit Low		C-2..G8
	03   1	00..7F	Note Limit High		C-2..G8
	04   1	01..7F	Velocity Limit Low	1..127
	05   1	01..7F	Velocity Limit High	1..127
	06   1	00..01	Filter Curve		0..1(lin,Exp)
	07   1	00..02	LFO Wave		0;saw/1;tri/2;S&H
	08   1	00..01	LFO Phase Init		off/on
	09   1	00..3F	LFO Speed		0..63
	0A   1	00..7F	PLFO Delay		0..127
	0B   1	00..7F	PLFO Fade Time		0..127
	0C   1	00..3F	LFO PMD			0..63
	0D   1	00..0F	LFO FMD			0..15
	0E   1	00..1F	LFO AMD			0..31
	0F   1	20..60	Note Shift		-32..+32(semitones)
	10   1	0E..72	Detune			-50..+50(cent)
	11   1	00..05	Pitch Scaling Rate	100,50,20,10,5,0(%)
	12   1	00..7F	Pitch Scaling Center	C-2..G8
	13   1	00..03	Pitch EG Depth		1/2,1,2,4(oct)
	14   1	39..47	PEG Depth VelLevelSens. -7..+7
	15   1	39..47	PEG Depth VelRateSens.	-7..+7
	16   1	39..47	PEG Depth Rate Scaling	-7..+7
	17   1	00..7F	PEGDpth RateScalCenter	C-2..G8
	18   1	00..3F	PEG Rate1(Attack)	0..63
	19   1	00..3F	PEG Rate2		0..63
	1A   1	00..3F	PEG Rate3		0..63
	1B   1	00..3F	PEG Rate4(Release)	0..63
	1C   1	00..7F	PEG Level0		0..127
	1D   1	00..7F	PEG Level1		0..127
	1E   1	00..7F	PEG Level2		0..127
	1F   1	00..7F	PEG Level3		0..127
	20   1	00..7F	PEG Release Level	0..127
	21   1	00..3F	Filter Resonance	0..63
	22   1	00..07	Velocity Sens.		0..7
	23   1	00..7F	Filter Cutoff Freq.	0..127
	24   1	00..7C	Filter Scaling BP1	C-2..E8
	25   1	01..7D	Filter Scaling BP2	C#-2..F8
	26   1	02..7E	Filter Scaling BP3	D-2..F#8
	27   1	03..7F	Filter Scaling BP4	D#-2..G8
	28   1	00..7F	Filter Scaling Offset1	-63..+64
	29   1	00..7F	Filter Scaling Offset2	-63..+64
	2A   1	00..7F	Filter Scaling Offset3	-63..+64
	2B   1	00..7F	Filter Scaling Offset4	-63..+64
	2C   1	39..47	FEG VelocityLevelSens.	-7..+7
	2D   1	39..47	FEG VelocityRateSens.	-7..+7
	2E   1	39..47	FEG Rate Scaling	-7..+7
	2F   1	00..7F	FEG RateScalingCenter	C-2..G8
	30   1	00..3F	FEG Rate1		0..63
	31   1	00..3F	FEG Rate2		0..63
	32   1	00..3F	FEG Rate3		0..63
	33   1	00..3F	FEG Rate4		0..63
	34   1	00..7F	FEG Level0		0..127
	35   1	00..7F	FEG Level1		0..127
	36   1	00..7F	FEG Level2		0..127
	37   1	00..7F	FEG Level3		0..127
	38   1	00..7F	FEG Level4		0..127
	39   1	00..7F	Element Level		0..127
	3A   1	00..7C	Level Scaling BP1	C-2..E8
	3B   1	01..7D	Level Scaling BP2	C#-2..F8
	3C   1	02..7E	Level Scaling BP3	D-2..F#8
	3D   1	03..7F	Level Scaling BP4	D#-2..G8
	3E   1	00..7F	Level Scaling Offset1	-63..+64
	3F   1	00..7F	Level Scaling Offset2	-63..+64
	40   1	00..7F	Level Scaling Offset3	-63..+64
	41   1	00..7F	Level Scaling Offset4	-63..+64
	42   1	00..06	Velocity Curve		0..6
	43   1	00..0F	Pan			(left..right),(scaling)
	44   1	39..47	AEG Rate Scaling	-7..+7
	45   1	00..7F	AEG RateScalingCenter	C-2..G8
	46   1	00..0F	AEG Key On Delay	0..15
	47   1	00..3F	AEG Attack Rate		0..63
	48   1	00..3F	AEG Decay1 Rate		0..63
	49   1	00..3F	AEG Decay2 Rate		0..63
	4A   1	00..3F	AEG Release Rate	0..63
	4B   1	00..7F	AEG Decay1 Level	0..127
	4C   1	00..7F	AEG Decay2 Level	0..127
	4D   2	0000	Address Offset		1st Bit13..7
		..3FFF				2nd Bit6..0
	4F   1	39..47	Resonance Sensitivity	-7..+7
TOTAL  SIZE 17D

e = 0	;Current Normal Voice Element1	 Address High Byte = 001000e
e = 1	;Current Normal Voice Element2	 e;Element Number

SETTING UP YOUR MAGNUM OPUS SEQUENCER TRACK

So, you now have all of the tools to do the job, how should you go about
constructing it all. Well propably the best way is to follow this simple
set of rules for your setup track.

1: Insert SMF meta events such as the name of the track, tempo, time
   signature etc (see your sequencer manual for how to do this )
2: Insert the GM system on message (sysex)
3: leave at least a 200milliseconf gap
4: Now insert an XG on system message.
5: Leave at least 50 milliseconds gap
6: now send all the system exclusive messages for the effects (variation
   connection type, variation type, and the effects parameters...in that
   order)
7: All of the bank select messages for each midi channel, followed by
   all of the program change messages.
8: All of the required controller messages
9: All of the RPN and NRPN messages for your song (drums, filters etc)
10: repeat the steps 7-11 for all 16 midi channels

For a reference please examine the CD demos that come with your DB50 for
a rough guide (thunderbirds is a good example !)
