User manual Roland, model CM-64
Manafacture: Roland
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manual abstract
(This information is ignored in the Rhythm Part.) In the LA sound module section, 15 levels are normally valid for the pan value, but only 8 levels are valid when you use a certain sound. In the PCM sound module section, the pan value can be changed continuously. 7 > 6 > 5 > 4 > i 3 > ? 2 > 1 > > < < 1 < 2 | < 3 LO V V <6 | <7 7 > 5 > 3 > 1 > < 1 < 3 < 5 < 7 119-127 77H-7FH HM18 6FH-76H 102-110 66H-6EH 94-101 5EH-65H 85-93 55H-5DH 77-84 I 68-?6 4DH-54H144H-4CH 60-67 3CH-43H 51-59 33H-3BH 43-50 2BH-32H 34-42 22H-2AH 26-33 1AH-2IH 17-25 11H-19H 9-16 09H-HIH 1.1-8 0OH-08H Expression (Control Number: 11/0BH) This controls the volume of each Part. The actual volume is determined by the values of expression (Control Number 11), volume (Control Number 7) and Master Volume (Exclusive messages) and the position of Volume control knob. Hold 1 (Control Number : 64/40H) This sustains the sound currently played, just like a damper pedal of a piano. RPN (Control Number: 100/64H& 101/6511) RPN stands for Registered Parameter Number. In the CM-64, the bender range of each Part can be controlled with the RPN number 0, Pitch Bend Sensitivity. Reset All Controllers (Control Number : 121/79H) This returns the Modulation, Expression, Hold 1 and Pitch Bender parameters to the default settings. The Part received this message will be set as shown below : Modulation 0/00H Min Expression 127./7FH Max Hold 1 O/OOH ■ Off Pitch Bender ±0/200 OH Center 16 (3)Advanced Control via MIDI •Using another MIDI sound module If you wish to increase the number of sounds using another MIDI sound module, make connections as follows. Set the MIDI receive channel of the connected sound module to 1. •Bender Range Control with RPN The CM-64 allows you to control the bender range of each Part using the RPN (Registered Parameter Number). To do that, send Control Change messages from an external MIDI device in the sequence as shown below : (!) RPN MSB (Control Number: 100,/64H) 0, /00 H (2) RPN LSB (Control Number: 1() 1,6 5 FI) 0,/0()H ©Data Entry (Control Number: 6/06H) vv * vv is the value of the bender range to be set. it can be set in semi-tone steps within 2 octaves (0 - 24/00H -18H) in the LA sound section and in semi-tone steps within 1 octave (0 - 12/00H - OCH) in the PCM sound section. To set the bender range of Part 4 (MIDI channel 5) to 12 (1 octave): MIDI ch Comm I Nsimbur Data MIDI Message u) RPN MSB 5 100/64 II 0/00 11 В 4 IL 64 H, 00 H ЬRPN PSВ 5 101/65 11 0/00 II [’. ; il H, 00 H (3) Data Entry 5 6/06 II 12/0 CH В 4 II. 06 H, OCH * Some types of MIDI sequencer transmits Control Change numbers of the same step (timing) in the sequence of smaller number to a larger number. If you use this type of sequencer, be sure to set it so that the Control Change will be sent in the sequence of RPN MSB - RPN LSB - Data Entry by shifting the position of the RPN forward, etc. •Control Using the Exclusive Messages Exclusive messages are messages exclusive to a particular manufacturer, such as sound data and setup data. Various parameters can be controlled using the Exclusive messages. For details, see the MIDI Implementation at the back of this owner’s manual. 17 7. Default Settings at Power-on The CM-64 is default to the following values. (Any programs you have made will be erased when the unit is switched off.) Sound Pan Volume Expression Part 1 Slap Bass 1 54/36 PI 100/64 H 127/7 FH Part 2 Str Sect 1 54/36 H 100/64 H 127/7 FH Part 3 Brs Sect 1 54/36 H 100/64 H 127/7 F H Part 4 Sax 1 54/36 H 100/64 H 127/7 FH LA Sound Part 5 Ice Rain 18/12 H 100/64 H 127/7 FH Section Part 6 Elec Piano 1 91/5 BH 100/64 H 127/7 FH Part 7 Bottleblow 0/00 H 100/64 11 127/7 F H Part B Orche Hit 127/7 FH 100/64 H 127/7 FH Rhythm Part ----- -- 100/64 H 127/7 FH Part 1 FRETLESS 1 64/40 II 100/64 H 127/7 F H Part 2 CHOIR 3 81./51 H 100/64 H 127/7 F H PCM Sound Part 3 A. PIANO 1 64/40 H 100/64 H 127/7 FH Section Part 4 E. ORGAN 1 99/63 H 100/64 H 127/7 FH Part 5 E. GUITAR 1 27/1 BH 100/64 H 127/7 FH Part 6 SOFT TP 1 45/2 DH 100/64 H 127/7 FH 18 8. Maximum Voices As previously explained in "3. Structure of the CM-64’\ a sound is made of number of Partíais and the CM-64 produces sounds using Partíais. The maximum voices that it can produce simultaneously will vary depending on the number of Partíais used for the sound. The following explains the relation between the Partíais and the maximum voices of the CM-64. (1)Partials and the maximum number of voices The LA sound section allows you to use 32 Partíais and the PCM section allows you to use 31 Partials at the same time. For example, if you play three sounds which are made of two Partíais, six Partíais will be used altogether (2 Partíais x 3). In other words, when the CM-64 is used as a multi timbra! sound module, it uses (the number of Partíais assigned to Part 1) x (the number of voices currently playing in Part 1), that is the total num...
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