Roland MIDI Implementation F-120R - Manual (Page 21)

MIDI Implementation
21
●0129: Multi Stage Phaser
Extremely high settings of the phase diff erence produce a deep phaser eff ect.
No Parameter Value Description
1 Mode 0–5
4-Stage,
8-Stage,
12-Stage,
16-Stage,
20-Stage,
24-Stage
Number of phaser stages
2 Manual #2 0–127 0–127
Adjusts the basic frequency
from which the sound will be
modulated.
3 Rate Mode 0–1 Hz, note
When this is set to “note,” the
eff ect is synchronized with the
tempo.
4 Rate #1 1–127
0.05–10.00
Hz
Frequency of modulation (Hz)
5 Rate 0–21 note
Frequency of modulation
(note)
6 Depth 0–127 0–127 Depth of modulation
7 Resonance 0–127 0–127 Amount of feedback
8 Mix 0–127 0–127
Level of the phase-shifted
sound
9 Pan 0–127 L64–63R
Stereo location of the output
sound
10 Low Gain 0–30 -15–+15 dB Gain of the low range
11 High Gain 0–30 -15–+15 dB Gain of the high range
12 Level 0–127 0–127 Output Level
●012a: Infi nite Phaser
A phaser that continues raising/lowering the frequency at which the sound is
modulated.
No Parameter Value Description
1 Mode 0–3 1, 2, 3, 4
Higher values will produce a
deeper phaser eff ect.
2 Speed #1 0–127 -100–+100
Speed at which to raise or
lower the frequency at which
the sound is modulated
(+: upward / -: downward)
3
Resonance
#2
0–127 0–127 Amount of feedback
4 Mix 0–127 0–127
Volume of the phase-shifted
sound
5 Pan 0–127 L64–63R Panning of the output sound
6 Low Gain 0–30 -15–+15 dB
Amount of boost/cut for the
low-frequency range
7 High Gain 0–30 -15–+15 dB
Amount of boost/cut for the
high-frequency range
8 Level 0–127 0–127 Output volume
●0123: Stereo Flanger
This is a stereo fl anger. (The LFO has the same phase for left and right.)
It produces a metallic resonance that rises and falls like a jet airplane taking off or
landing. A fi lter is provided so that you can adjust the timbre of the fl anged sound.
No Parameter Value Description
1 Filter Type 0–2 Off , Lpf, Hpf
Type of fi lter
Off : No fi lter is used
Lpf: Cuts the frequency range
above the Cutoff Freq
Hpf: Cuts the frequency range
below the Cutoff Freq
2 Cutoff Freq 0–16 200–8000 Hz Basic frequency of the fi lter
3 Pre Delay 0–125 0.0–100.0 ms
Adjusts the delay time from
when the direct sound begins
until the fl anger sound is
heard.
No Parameter Value Description
4 Rate Mode 0–1 Hz, note
When this is set to “note,” the
eff ect is synchronized with the
tempo.
5 Rate #1 1–127
0.05–10.00
Hz
Frequency of modulation (Hz)
6 Rate 0–21 note
Frequency of modulation
(note)
7 Depth #2 0–127 0–127 Depth of modulation
8 Phase 0–90 0–180 deg Spatial spread of the sound
9 Feedback 0–98 -98–+98%
Adjusts the proportion of the
fl anger sound that is fed back
into the eff ect. Negative (-)
settings will invert the phase.
10 Low Gain 0–30 -15–+15 dB Gain of the low range
11 High Gain 0–30 -15–+15 dB Gain of the high range
12 Balance 0–100
D100:0W–
D0:100W
Volume balance between
the direct sound (D) and the
fl anger sound (W)
13 Level 0–127 0–127 Output Level
●0127: 3D Flanger
This applies a 3D eff ect to the fl anger sound. The fl anger sound will be positioned 90
degrees left and 90 degrees right.
No Parameter Value Description
1 Filter Type 0–2 Off , Lpf, Hpf
Type of fi lter
Off : No fi lter is used
Lpf: Cuts the frequency range
above the Cutoff Freq
Hpf: Cuts the frequency range
below the Cutoff Freq
2 Cutoff Freq 0–16 200–8000 Hz Basic frequency of the fi lter
3 Pre Delay 0–125 0.0–100.0 ms
Adjusts the delay time from
when the direct sound begins
until the fl anger sound is
heard.
4 Rate Mode 0–1 Hz, note
When this is set to “note,” the
eff ect is synchronized with the
tempo.
5 Rate #1 1–127
0.05–10.00
Hz
Frequency of modulation (Hz)
6 Rate 0–21 note
Frequency of modulation
(note)
7 Depth #2 0–127 0–127 Depth of modulation
8 Phase 0–90 0–180 deg Spatial spread of the sound
9 Feedback 0–98 -98–+98%
Adjusts the proportion of the
fl anger sound that is fed back
into the eff ect. Negative (-)
settings will invert the phase.
10 Output Mode 0–1
Speaker,
Phones
Adjusts the method that will
be used to hear the sound
that is output to the OUTPUT
jacks. The optimal 3D eff ect
will be achieved if you select
Speaker when using speakers,
or Phones when using
headphones.
11 Low Gain 0–30 -15–+15 dB Gain of the low range
12 High Gain 0–30 -15–+15 dB Gain of the high range
13 Balance 0–100
D100:0W–
D0:100W
Volume balance between
the direct sound (D) and the
fl anger sound (W)
14 Level 0–127 0–127 Output Level