|
The
following tips will introduce you to some of the many
highly musical features to
explore when programming
your GS/GM sound modules.
MIDI
CONTINUOUS CONTROLLERS
Using
continuous controllers is an easy way to begin exploring
some of the hidden features of your Sound Modules. Once
you know which controllers access which features, you
can experiment with them by entering the controllers
numbers and values into your sequencer's event list.
MONO AND PORTAMENTO
If you want your GS/GM sound module to go retro and sound
a bit more analog, select a synth sound, such as #82 Saw Wave, and
use continuos controllers to set part 1 to mono mode and add
portamento. Instant vintage synth! You may also want to ass some
chorus to fatten it up a bit. Send the following data values on the
MIDI channel of the part that you want to edit:
Cc 126
Value1
Mono
On
Cc 65
Value 127
Portamento
On
Cc 5
Value 40
Portamento
Time
VOLUME AND EXPRESSION
Another important aspect of successful sequencing with
the GS/GM Sound module is the relationship between volume(CC7) and
expression (CC1). Roland recommends using volume to set the maximum
level for each part. Use this to set the initial balance of you
sounds. Expression can then be used as a controller for adjusting
volume between 0 and the level set by CC7. This allows you to retain
a lower level, yet still have full range of expressive control over
your mix. It’s also very handy when you want a part’s maximum level
to be an irregular value, such as 71. Using only CC7, it can be
difficult to turn a slider or pedal exactly to 71. However, you
assign the slider to the top, and the levels will remain to
71.
PITCH-BEND SENSITIVITY
Registered parameter Numbers CC100 and CC101
define the RPN functions, which include pitch-bend sensitivity, fine
tuning, and coarse tuning. Use data entry CC6 (MSB- most significant
byte) and CC38(LSB- least significant byte) to set the values for
the registered parameter you choose. (MSB And LSB commands allow you
to 7-bit data words to be used to send a 14-bit word. “most” and
“least” simply refer to which byte is sent first.) Again, be sure to
enter this these MIDI channel for the part you intend to
edit.
The GS/GM sound module has a
default pitch-bend range of a whole-step, which is fine for the most
musical uses. But to get a real bluesy string bend on a guitar part,
a ribbon-bender effect on the synth lead part, or realistic
fall-offs on brass stabs, you’ll need to increase the Pitch-Bend
Range. You can set the bend range for an individual part to up to
two octaves by inserting these messages into your event
list:
CC101
Value
0
CC100
Value
0
CC6
Value
X
X is the number of
half-steps, from 0 to 24, to which you want the GS/GM Sound Module
to respond CC101 and CC100 tell the GS/Gm Sound Module that
pitch-bend is the parameter you want to
adjust.
SYNTHESIS EDITING
The GS/GM sound module synthesis comes alive
with the NRPN controllers CC98 and CC99. Eight NRPNs let you control
basic synthesis functions, and five are for editing the level,
pitch, pan, reverb, and chorus amount for individual instruments
within a drum kit.
Listed below are the synth editing NRPNs,
their controller numbers, and their value ranges. A value of 64 is
the default setting. You can rise or lower any of the values 50,
values above 64 will increase the effect, and values below 64 will
decrease it. Some sounds may not respond, as you’d expect because
the ROM value is already maximized. For instance, if sounds factory
default for filter cutoff is already wide open adding +50 to it will
have no effect. In this case, lowering the cutoff by –50 will
produce a noticeable effect. Note: on some GS/GM sound module
instruments, you must first enable the device to receive NRPNs by
sending GS reset message (see the final tip in this article, page
134).
The CC6 values of 64 are default settings, and 14 and 114
are the allowable minimum and maximum, respectively.
To slow the
attack time of a particular part, insert the message below into your
sequencer on the MIDI channel the part is set to respond to.
For
a slower attack, X should be value between 65 and 127.
CC99 Value
01
CC98 Value 99 ( TVF & TVA Attack Time)
CC6 Value
6
To get a musical wind instrument vibrato, try this
message on a flute sound.
CC99
Value 01
CC98 Value 8 (Vibrato Rate)
CC6 Value 72
CC99 Value
01
CC98 Value 9 (Vibrato Depth)
CC6 Value 78
CC99 Value
01
CC98 Value 10 (Vibrato Delay)
CC6 Value 100
DRUM INSTRUMENT EDITING
NRPNs let you tweak any individual sound in GS/GM sound
module drum kit. In this case CC99 defines the function, CC98
specifies the note number, and CC6 sets the value. The following
table shows these controllers and values. (See figure
below).
Try changing the pitch of the snare drum assigned
to E2 with these messages:
CC99 Value
24
CC98 Value 40
CC6
Value 70
Once these NRPNs
reside in your sequence, you can easily make subtle or drastic
changes to any of these parameters by altering the corresponding CC6
value.
CC99
CC98
CC6
Drum
Pitch Coarse 24 note number
0-64-127
Drum Level
26
note number 0-127
Drum Pan
28
note number 00 =
random
01 –64 – 127
Drum Reverb send 29
note number 00 – 127
Drum
Chorus send 30 note number
00 - 127
SYSTEM-EXCLUSIVE
Sys-ex commands allow you to alter the entire sonic
makeup of your GS/GM sound module by typing a data string into your
sequencer’s sys-ex list. If you haven’t used sys-ex before, check
out the “What the Hex” side bar on page 124 for tutorial on how it
works with the GS/GM sound module. (The first five bytes in the
messages below, F0 41 10 42 12, are a header for all GS/GM sound
module sys-ex messages. The F0 is a sys-ex status byte, and the rest
of the messages consists of data bytes.) in all of the following
examples, we have computed the checksum for you, so all you have to
do is enter the data. Roland MC-series sequencers with Super MRC
automatically compute the checksum when you enter 00 just preceding
the F7(end of exclusive) message. Refer to the sidebar for more info
on checksums.
TWO RHYTHM PARTS
Enabling a second part for rhythm lets you mix the jazz
and jazz Brush Kits, for example, combine the Electronic kit with
the Standard kit, or use the SFX Kit along with any other drum kits.
The first message below will change part 11 to drum part 2, after
which you can send a program change on channel 11 to call your
second drum kit. The second message changes part 11back to normal
part.
F0 41 10 42 12 40 1A
15 02 0F F7
F0 41 10 42
12 40 1A 15 00 11
F7
CONTROLLER ROUTING
A common misconception is that the GS/GM sound module
doesn’t respond to aftertouch. It will actually receive both channel
and polyphonic aftertouch, but first you need to assign aftertouch
to a destination . All told, he GS/GM sound module can accept six
control sources: modulation, pitch-blend, channel, and poly
aftertouch, and two assignable MIDI controllers. What’s more each of
these can have up to 11 simultaneous destinations; pitch, filter
cutoff, and amplitude, and rate, TVF depth, TVA depth, and pitch
depth for each LFO. For a complete list, check addresses 40 2n 00
through 40 2n 5A on the MIDI Implementation Chart in your
instrument’s owner’s manual. Note that the “n” in these addresses is
the part number. The following message enables aftertouch to create
volume swell and add a bit of vibrato on part 1:
F0 41 10 42
12 40 21 22 78 50 06 2F F7
Try this on #49 Strings to add a little intensity,
or on a lead sound, such as #88 Bass & Lead. For other parts,
change the second digit of the address byte (the sixth data byte,
for hex heads: When specifying parts, Roland uses 1 for part 1, 2
for part 2, and so on up through part 10, which specified using 0.
Parts 11 through part 16 are specified with the hex digits through
F.
ALTERNATE SCALE TUNINGS
Through sys-ex you can tune
individual pitches to create scales that stray from the equal
tempered path. Al kinds of historical and ethnic tunings are
possible, since a message affects only the part to which you send
the string, you can even have interesting fusion effects like an
ethnically tuned solo accompanied by an equal-tempered band.
Increasing the value of any single data byte (the 12 bytes following
the six address bytes) raises or lowers the pitch one cent, and
standard equal temperament is represented by 40 (hex). These
parameters are located with the Micro Edit functions on the MIDI
implementation pages of the GS/GM sound module manual. As with
asterisk, you must send the data for all addresses within the
parameter, in this case, you must send data for all 12 notes of the
chromatic scale , even if there are notes of the chromatic scale,
even if there are notes that you aren’t changing. The following
example, set for part 1 (as denoted by the second digit in the
sixth data byte), is one of the many Arabic tunings, and it is one
of the many Arabic tunings, and it is effective with #16
Santur.
F0 41 10 42 12 40 11
40 40 72 40 40 0E 40
40 40 0E 40 40 53
F7
CHANGING EFFECTS
There’s
a lot more to the effects capabilities of the GS/GM sound module
than the most people realize: There are eight different reverbs,
each with eight variations, plus two delays and a flanger. You can
edit effect parameters, such as reverb master level and time, plus
chorus rate, level, and feedback. You can use CC91 and CC93 to
control the master levels default to 50 %. With sys-ex you can
increase the level as well as edit all the effect parameters. For a
complete list of editable parameters, consult addresses 40 01 30
through 40 01 3F on the MIDI Implementation Chart. Here’s how to
select Room 2 reverb, and max it’s master level.
F0 41
10 42 12 40 01 30 02 04
00 7F 0A F7
Here’s how to max out the master levels and increase
reverb time:
F0 41 10 42 12 40 01
33 7F 60 2D F7
This message switches chorus to
flanger:
F0 41 10 42 12 40
01 38 04 03 F7
The chorus level for each part defaults to 0, so you’ll
have to boost it’s level in order to hear the
flanger.
TURNING CHANNELS OFF
When using more than one sound module
with a sequencer, you may want to thin out the orchestration by
turning off a part or two on your GS/GM sound module. Let’s say you
want to have a piano module respond to MIDI channel 1 and the SC-55
to channels 2 through 16. Since the GS/GM sound module listens on
all 16 channels, you must use a short sys-ex message to turn part1
off:
F0 41 10 42 12 40 11
02 10 0D F7
Any of the
16 parts can be turned off using the part numbering…
SPLITS AND LAYERS
For live performance, use your sequencer and
sys-ex to instantly create complex splits and layers- even on
keyboards that don’t have zoning capabilities or can’t transmit on
multiple channels. First we assign part 2 to MIDI channel 1. To do
this’ create a sys-ex string in which part 2’s address, 40 1n 02
with n=2, is followed by the data byte 00, which denotes MIDI
channel 1. (part 1 is already assigned to MIDI channel1, so we don’t
have to tinker with it.) We now assign the parts to specific
keyboard ranges using the Key Range Low and High Addresses (40 1n 1D
and 40 1n 1E). now select tones for each part with the Tone Number
address (40 1n 00 and 01; two bytes required). This is great if you
want to play a bass and piano break in the middle of a song. Leave
out the Key Range messages and you have an instant layer.
First,
assign part 2 to MIDI channel 1:
F0 41
10 42 12 40 12 02 00 2C
F7
Now let’s use
modulation to control the level of the sound on Part 2 We’ll assign
modulation to amplitude and turn the pitch modulation off, like
this:
F0 41 10 42 12 40 22 02
7F 40 00 5D F7
You can use this example to fade in a string
sound over a piano sound.
VOICE RESERVE
This
parameter let’s you assign a minimum number of voices and a
hierarchy for each part, so that if the number of notes in a
sequence exceeds the unit’s polyphony, it will borrow voices from
the lower priority parts and keep the higher ones playing. If two
parts are assigned the same number of voices, the lowered numbered
part will take priority.
The GS/GM sound module has a
default part priority where part 10 (the drum part) is highest ,
followed by parts 1 through 16 in ascending order.
The
following message reassigns the voice reserves for parts 9 through
16, reserving a minimum of three voices each on parts 9, 11, and 12,
and two each on parts 13 through 16:
F0 41 10 42 12 40
01 10 03 00 00 00 00 00 00 00 00 03 03 03 02 02 02 02 6C
F7
GS RESET
This
message will reset the GS/GM Sound module to it’s factory default
condition. In this case of the newer GS/GM Sound module instruments,
such as the SC-55mkll, you must send this message before using the
NRPNs to program your sounds. Insert this message at the beginning
of every song, in order to wipe the palette clean:
F0 41 10 42
12 40 00 7F 00 41 F7
The best thing about this message is that you don’t
need to worry about messing up your GS/GM Sound module by entering
any of the other messages in this article incorrectly. It will
always return you to clean condition.
|
MIDIFILES
CHORDCHART 
