Owner’s Manual Thank you, and congratulations on your choice of the Roland D2 Groovebox. Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” (pp. 2–3) and “IMPORTANT NOTES” (p. 4). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s manual should be read in its entirety.
For the U.K. IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. BLUE: NEUTRAL BROWN: LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
101b 011 • Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit. • The unit and the AC adaptor should be located so their location or position does not interfere with their proper ventilation. .......................................................................................................... 102d ..........................................................................................................
IMPORTANT NOTES 291a In addition to the items listed under “USING THE UNIT SAFELY” on pages 2 and 3, please read and observe the following: Power Supply Additional Precautions 301 551 • Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system). • The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a cause for concern.
Contents IMPORTANT NOTES ...............................................................................4 Features of the D2...................................................................................8 How to read this manual ........................................................................9 Conventions in this manual........................................................................................................... 9 Panel Descriptions/ Making Connections .............................
Contents Making the sound change over time (ASSIGN 2: ENVELOPE)............................................. 34 Applying cyclic change to the sound (ASSIGN 2: LFO).......................................................... 36 Changing the pitch or vibrato depth (ASSIGN 2: BENDER).................................................. 36 Changing the rhythmic feel of a pattern (ASSIGN 2: QUANTIZE) ...................................... 37 Changing the reverb depth (ASSIGN 2: REVERB)...............................
Contents Chapter 8. System Settings and MIDI Applications...........................73 Making system settings (System)........................................................................................................... 73 Sound generator settings ............................................................................................................. 73 Sequencer settings.........................................................................................................................
Features of the D2 D-FIELD controller for total freedom of expression The newly developed “D-FIELD controller” is located in the center of the panel. Its three modes (SOUND/XY/SPIN) allow you to control phrases and sounds in a completely uninhibited way, simply by touching the controller, scratching it from top to bottom or side to side, or spinning it like a turntable, thus giving rise to performance possibilities that were unavailable until now.
How to read this manual The D2 manual is structured as follows. This chapter explains how the D2 sound generator and sequencer are organized, and explains the basic operation. By reading this chapter, you can gain an overall understanding of the D2. Chapter 1 Chapter 1. An Overview of the D2 This chapter explains the most basic operations used with the D2: how to play patterns, adjust the tempo, and mute sounds. Be sure to read this chapter. Chapter 2 Chapter 2. Playing Patterns Chapter 3.
Panel Descriptions/ Making Connections Top panel 1 2 3 5 4 8 9 10 11 12 6 7 1. VOLUME knob This knob adjusts the volume of the entire D2. 2. Beat scan indicators These indicators show the playback/recording location within the measure of the pattern or song. 3. DISPLAY button This switches the display. Each time you press the button, the display will alternate between BPM, patch number, information regarding the D-FIELD, and the original screen (such as the pattern number display). 4.
Panel Descriptions/ Making Connections Rear panel * To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections. 1 2 3 4 5 6 AC Adaptor Stereo Headphones Cord hook To Mixer, Amplifier 1. POWER switch This turns the power on/off. 2. AC adaptor jack Connect the supplied AC adaptor to this jack.
Chapter 1. An Overview of the D2 How the D2 is structured This section explains the main sections of the D2: the sequencer section, sound generator section, and the DFIELD. SEQUENCER Play SOUND GENERATOR Recording The sound generator section The sound generator is what actually produces the sound. The sounds are generated in accord with information arriving from the D2’s D-FIELD and sequencer. Performance data from an external MIDI device can also play the sound generator.
Chapter 1. An Overview of the D2 The display of the D2 indicates characters and numbers as follows. Saving your settings After you modify settings or record a performance, you must perform the Save procedure if you wish to keep the results. If you turn off the power without doing this, your settings or the recorded contents will be lost. A B C D E F G H I J K L M N For details on saving, refer to the following pages. Capital letters Small letters • Patch ➔ Saving a patch (p.
Chapter 1. An Overview of the D2 Restoring the factory settings (Factory Reset) The settings of the D2 can be restored to their factory-set condition. Approximately 2 minutes are required for the Factory Reset operation. Never turn off the power while the display indicates “Factry.” Doing so can destroy the contents of memory. When you execute the Factory Reset operation, the internal memory data will be lost.
Chapter 2. Playing Patterns Basics of playing a pattern A pattern consists of 1 to 32 measures of play that include patches and rhythm sets of up to 8 parts. The D2 is a sequencer that plays back patterns and adds changes to the playback method. This type of sequencer is referred to as a pattern sequencer. Playing Back Patterns Use the following buttons to play back. Return to the previous measure. Advance to the next measure. Use in recording. Chapter 2 The D2 is provided with 157 preset patterns.
Chapter 2. Playing Patterns Playing Back at the Tempo Set for the Pattern In order to play back patterns at the BPM (standard tempo) set up for the respective patterns, select a pattern while no pattern is being played back, then start playback.This secures playback at the optimal BPM for the pattern. Muting a part or rhythm tone The part button indicators show the mute status of each part (rhythm instrument) as follows: • Lit: The part will play. • Blinking: The part is muted.
Chapter 2. Playing Patterns The instruments used within part R can be muted (silenced) individually. A certain category of instrument, such as bass drum (BD) or snare drum (SD) can be muted as a group. 1. Simultaneously press [PART SELECT] and [PART MUTE]. [PART SELECT] and [PART MUTE] will light, and part buttons [R] and [1]–[7] will function as Rhythm Tone Mute buttons ([BD]–[OTHERS]). 2. Press the [BD]–[OTHERS] button for the part that you wish to mute, making the indicator blink.
Chapter 2. Playing Patterns Selecting a sound (Patch/Rhythm set) The D2’s Patterns are composed of up to eight Parts, and different Patches (Part1 - 7: Patches, Part R = Rhythm set) can be selected for each Part. To change tones, first select the desired Part. First, specify the part for which you will select a patch. 1. Press [PART SELECT]. The part button of the currently selected part (the current part) will light. 2. Press the part button ([R] or [1]–[7]) of the part whose patch you wish to change.
Chapter 2. Playing Patterns Modifying the settings of each part (Part Edit) You can modify the settings of each part to change the way in which the pattern is sounded. First specify the part whose settings you wish to modify. 1. Press [PART SELECT]. The part button of the currently selected part (the current part) will light. 2. Press the part button ([R] or [1]–[7]) of the part whose settings you wish to modify.
Chapter 2. Playing Patterns Saving a pattern When you have made the settings for setup parameter, save the pattern as a user pattern. If you edit another pattern, switch to Song mode, or turn off the power without saving the pattern you recorded or edited, your edits will be lost. * For a pattern to be saved, pattern playback must be stopped. 1. Press [PATTERN] to enter Pattern mode. 2. Press [WRITE]. A screen will appear, allowing you to specify the savedestination pattern.
Chapter 3. About the D-FIELD What is the D-FIELD? The D-FIELD is a controller that lets you produce various effects by touching the surface of the controller with your finger. The effect can be controlled by the location of your touch, or by how you move your finger. Broadly speaking, there are three ways to use the D-FIELD. SOUND mode By pressing on the eight areas of the D-FIELD, or by rubbing the surface of the D-FIELD up/down/left/right, you can play back phrases or play sounds. fig.
Chapter 3. About the D-FIELD Basic use of the D-FIELD Selecting a function 1. Of the D-FIELD function buttons [RPS]–[ASSIGN 3], press the button for the desired function to make its indicator light. The function of the illuminated button will be selected. 2. For [ASSIGN 1–3], hold down the button and turn [VALUE] to select the desired function.
Chapter 3. About the D-FIELD Assigning phrases to the D-FIELD SOUND mode Playing back a phrase (RPS: Realtime Phrase Sequence) Phrases assigned to each of the eight areas of the D-FIELD will continue playing as long as you continue pressing that area. The phrases assigned to each of the eight areas of the DFIELD are collectively managed as an “RPS set.” You are free to re-assign the contents of an RPS set, and internal memory can accommodate 30 different sets.
Chapter 3. About the D-FIELD Improvising along with a chord progression (ADLIB) After pressing one of the areas in the lower half of the D-FIELD, move your finger in the left/right direction to play an ad-lib performance. While sound is being produced, you can move your finger upward to apply modulation. fig.Adlib Display TYPE Explanation Select how the sound will be played. X Specify the scale. Y Raise or lower the pitch in octave units.
Chapter 3. About the D-FIELD Applying special turntable-type effects (VINYL-FX: Vinyl Effects) You can apply various special effects by pressing each of the eight areas of the D-FIELD. fig.Pad No. 1 Function POWER OFF 2 3 4 5 6 7 8 REVERSE PITCH DOWN PITCH UP BPM HALF BPM DOUBLE RETURN TO TOP BACK SPIN Explanation The tempo will slow down and the pitch will fall, just as when a turntable is powered-off during playback. Finally the playback will stop.
Chapter 3. About the D-FIELD Playing arpeggios (ASSIGN 1: ARPEGGIATOR 1) fig.AP1— You can specify ahead of time how the arpeggio will be sounded; then change the root note by varying the left/right location at which you press the D-FIELD, and change the chord by moving up/down. Display TYPE none X none Y none Explanation none Root note Chord Setting none Root note (fixed) Chord (fixed) Making detailed settings 1. Hold down [ASSIGN 1] and press [EDIT]. 2. Press [ENTER] to select the desired parameter.
Chapter 3. About the D-FIELD Playing arpeggios (ASSIGN 1: ARPEGGIATOR 2) fig.AP2— Arpeggios can be played using the root note and chord that you specify ahead of time. By varying the location at which you press the D-FIELD, you can change how the arpeggio is sounded. Display TYPE none X Explanation none Select the part that will be affected when you move your finger in the left/right direction. Select the part that will be affected when you move your finger in the up/down direction.
Chapter 3. About the D-FIELD Arpeggio settings Arpeggio Styles When you wish to make arpeggiator settings, you will first select an Arpeggio Style. When you select a style, optimal values will be set for the four parameters “Motif,” “Beat Pattern,” “Shuffle Rate,” and “Accent Rate.” You can adjust parameters such as Accent Rage and Octave Range to modify the pattern to your taste.
Chapter 3. About the D-FIELD Beat pattern It will affect the accent location and note length, causing the beat (rhythm) to change. * The values which can be set will depend on the currently selected arpeggio style. For details on the possible values for each style, refer to “Table of STYLE/MOTIF/BEAT PATTERN” on this page.
Chapter 3. About the D-FIELD Recalling a pattern (ASSIGN 1: PATTERN CALL) fig.PCL— The eight areas of the D-FIELD can be used as buttons that select patterns. You can prepare the desired patterns ahead of time, and then use this method to switch patterns quickly. The patterns assigned to the eight areas of the D-FIELD are collectively managed as a “pattern set.” You are free to re-assign the contents of a pattern set, and internal memory can accommodate 20 different sets.
Chapter 3. About the D-FIELD Auditioning the sound of a patch (ASSIGN 1: PATCH PREVIEW) fig.PRV— You can press each of the eight D-FIELD areas to hear the sound of each part. Pressing D-FIELD 8 will sound the rhythm part. * The note number (pitch) that is played can be modified by holding down REC FUNCTION (p. 63) [NOTE NUMBER], and turning [VALUE]. You can check the currently sounding part and note number by pressing [DISPLAY] to set it to “D-FIELD.
Chapter 3. About the D-FIELD Playing rhythm instruments / scales (ASSIGN 1: KEYBOARD PAD) fig.PAD— By pressing the eight areas of the D-FIELD you can play any eight notes of the current part. In the case of part R alone, you can specify different note numbers than the other parts. This allows you to assign various instruments of the rhythm set for part R, and assign a scale for the other parts. Specifying the notes (note numbers) that will sound 1. Press [PART SELECT] and select the part. 2.
Chapter 3. About the D-FIELD XY mode Changing the brightness of the sound/Adding character to the sound (FILTER) Display TYPE X Y Explanation Select the type of filter. * At the factory settings, the filter will be as specified by the patch selected for the current part of the current pattern. none none Cutoff Frequency Resonance Setting OFF: The filter will not be applied.
Chapter 3. About the D-FIELD Changing the volume of the parts (X-FADER) The volume or pan of two parts can be controlled simultaneously. Display TYPE Explanation Specify whether you will control volume or pan. Setting LEV (LEVEL), PAN X Select the part that will be affected when you move your finger to left or right. Y Select the part that will be affected when you move your finger upward or downward. P-r, P-1–P-7 * It is not possible to select the same part for both X and Y.
Chapter 3. About the D-FIELD Making detailed settings 1. Hold down [ASSIGN 2] and press [EDIT]. 2. Press [ENTER] to select the desired parameter. 3. Turn [VALUE] to change the setting. Parameter Explanation Setting DEPTH Adjust the range of pitch change. Negative (-) settings will invert the shape of the envelope, causing the pitch to change in the opposite direction. Refer to “About the envelope” on previous page.
Chapter 3. About the D-FIELD Applying cyclic change to the sound (ASSIGN 2: LFO) fig.LFO— The LFO (Low Frequency Oscillator) applies cyclic change to the sound. By cyclically changing the pitch, cutoff frequency, or volume, you can create effects such as vibrato, wah, tremolo, or auto-pan. * There will be no effect for part R. Display TYPE Explanation Select the LFO waveform.
Chapter 3. About the D-FIELD Changing the rhythmic feel of a pattern (ASSIGN 2: QUANTIZE) fig.QTE— You can change the rhythm feel of the performance data of a pattern. By modifying the timing and velocity (volume) of the notes in the pattern, you can produce a rhythm feel that is different than that of the original pattern. fig.Quantize Display TYPE X Y none none Explanation Select the type of quantization. Setting OFF, GRID, SHUFFLE, GROOVE Timing Velocity (Only when the type is set to “GROOVE.
Chapter 3. About the D-FIELD Quantization will correct only note messages; other messages are not corrected. This means that if messages that modify the sound in real time (such as pitch bend) have been recorded in the pattern, some Quantize settings may cause the timing of these messages to become incorrect, so that they are no longer played correctly. It is best to use Quantize on patterns that do not contain messages that produce realtime change.
Chapter 3. About the D-FIELD Changing the reverb depth (ASSIGN 2: REVERB) fig.REV— * There will be no effect if [REVERB] is dark. Press [REVERB] to make it lit. Display TYPE Explanation Select the type of reverb. Setting ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2 X Select the parameter that will be affected when you move your finger to left or right. Y Select the parameter that will be affected when you move your finger upward or downward. Refer to the explanation of reverb (p. 42).
Chapter 3. About the D-FIELD SPIN mode You can produce a variety of effects by moving your finger in a circle on the D-FIELD. Changing the sound as on a turntable (VINYL) In the same way as by spinning a turntable manually, you can change the tempo or pitch, play a pattern backward, or produce scratch effects. You can also vary the volume by the size of the circle in which you move your finger. Display Explanation Select the effect.
Chapter 3. About the D-FIELD Sounding a snare roll (SD ROLL) You can sound a snare drum roll. The speed at which you rotate your finger will affect the speed of the roll. You can also change the volume by varying the size of the circle in which you move your finger. Display Explanation Select how the speed of the roll will change. Setting AUT (AUTO): The speed of the roll will change in stages, according to the tempo of the song.
Chapter 4. Applying Effects to the Sound (Effects) Reverb Reverb is an effect which adds reverberation and ambiance to the sound, creating an impression of spatial depth. It simulates the sound of music played in a concert hall. This section describes the settings for using the reverb function. Turning reverb on/off Reverb is turned on by pressing [REVERB] and confirming that its indicator has lighted. To turn it off, press the button again, extinguishing the indicator.
Chapter 4. Applying Effects to the Sound (Effects) Delay (Add echoes to the sound) Delay is an effect which adds echoes to the sound. It is effective when applied to solo phrases or to densely rhythmic phrases. Described here is how to set the Delay effect. Turning delay on/off Delay is turned on by pressing [DELAY] and confirming that its indicator has lighted. To turn it off, press the button again, extinguishing the indicator.
Chapter 4. Applying Effects to the Sound (Effects) Multi-Effects (MFX) Multi-effects provides 25 different Effect Types, each of which let you apply a different effect. Described here is how to enter the MFX-related settings.
Chapter 4. Applying Effects to the Sound (Effects) * Parameters with an “X” or “Y” following the value will be selected when using D-FIELD to control the multi-effects (p. 33). “X” can be controlled by moving your finger to left and right, and “Y” by moving your finger up and down. 1. 4 Band EQ (Modify the tone) fig.MFXEQ Screen Parameter LOW FREQ (LOW Frequency) Explanation Determines the frequency of the low range. Value 200, 400 (Hz) LOW GAIN Adjusts the volume of the low frequency range.
Chapter 4. Applying Effects to the Sound (Effects) 3. Enhancer (Add Sparkle to the Sound) fig.MFXENH By controlling the overtones of the high frequency range, this effect adds sparkle to the sound, giving it more definition. Use this effect when you want to make a specific sound stand out from the rest of the ensemble, or to give it greater definition. Screen Parameter SENS (Sensitivity) Explanation Adjusts the depth of the enhancer effect.
Chapter 4. Applying Effects to the Sound (Effects) 5. Distortion (Distort the Sound Severely) fig.MFXDST This effect produces a more severe distortion than the Overdrive effect. It also contains an amp simulator, and produces the natural sound of a guitar amp. Screen Parameter INPUT LEVEL Explanation Adjusts the level of the input signal. Value 0–127 DRIVE Adjusts the depth of distortion. This will also affect the volume. 0–127 Y AMP TYPE Determines the type of guitar amp.
Chapter 4. Applying Effects to the Sound (Effects) 7. Noise Generator (Add Various Types of Noise) fig.MFXNSE In addition to a Lo-Fi effect, this effect also generates various types of noise such as hum, pink noise, and disk noise. Screen Parameter NOISE TYPE Explanation Determines the type of noise(s) that will be generated. Value 1–18 NOISE LEVEL Specifies the volume of the noise. 0–127 Y NOISE FILTER Adjusts the tone of the noise. If you do not wish to filter the noise, select “BYPASS.
Chapter 4. Applying Effects to the Sound (Effects) 9. Phonograph (Simulates an Old Record) This effect mutes the tone and adds disc noise to simulate the sound of music played on an old record player. Screen Parameter DISC TYPE Explanation Determines the type of disc noise. Value LP (33 RPM record), EP (45 RPM record), SP (78 RPM record) 0–127 DISC NOISE LEVEL Specifies the volume of the disc noise. Y DEPTH Adjusts the tone.
Chapter 4. Applying Effects to the Sound (Effects) 12. Slicer (Apply Successive Cuts to the Sound) fig.MFXSLI By applying successive cuts to the sound, this effect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially effective when applied to sustain-type sounds. Screen Parameter TIMING PATTERN Explanation Select a pattern to specify the timing at which the sound will be cut. Value 34 types ACCENT PATTERN Specifies the location of the accents.
Chapter 4. Applying Effects to the Sound (Effects) 14. Phaser (Modulate the Sound) By adding a phase-shifted sound to the original sound, this effect modulates the sound to add depth and a sense of rotation. * * Parameter MANUAL Explanation Specifies the center frequency at which the sound will be modulated. Value 100 (Hz)–8.00 (kHz) DEPTH Specifies the depth of modulation. 0–127 RESONANCE This setting emphasizes the frequency range in the vicinity of the center frequency. 0–127 RATE 0.1–10.
Chapter 4. Applying Effects to the Sound (Effects) 16. Space-D (Add Transparent Depth) This is a type of chorus, but unlike a conventional chorus, it does not create a sense of modulation. Screen * * Parameter PRE DELAY (Pre Delay Time) Explanation Specifies the time from the original sound until the chorus sound is heard. Value 0.0–100 DEPTH Specifies the depth of modulation. 0–127 PHASE Adjusts the spread of the sound.As this value is increased, the sound will have a broader left/right spread.
Chapter 4. Applying Effects to the Sound (Effects) 18. Flanger (Add Metallic Resonance to the Sound) fig.MFXFLN This creates a sharp and mechanical sound. It can add a metallic resonance to the sound, or produce an effect that sounds like an jet airplane taking off and landing. Parameter PRE DELAY (Pre Delay Time) Explanation Specifies the time from the original sound until the flanger sound is heard. Value 0.0–100 DEPTH Specifies the depth of modulation.
Chapter 4. Applying Effects to the Sound (Effects) 19. Step Flanger (Add Metallic Resonance to the Sound While Changing the Pitch in Steps) This is a flanger that changes the pitch of the sound in steps. The frequency of pitch change can also be synchronized to the BPM. Screen Parameter PRE DELAY (Pre Delay Time) Explanation Specifies the time from the original sound until the flanger sound is heard. Value 0.0–100 DEPTH Specifies the depth of modulation.
Chapter 4. Applying Effects to the Sound (Effects) Screen * * Parameter OUTPUT LEVEL Explanation Specifies the output volume from the Short Delay effect. Value 0–127 1: 16 (16th note), 8T (8th note triplets), 16. (dotted 16th note), 8 (8th note), 4T (quarter note triplets), 8. (dotted 8th note), 4 (quarter note), 2T (half note triplets), 4. (dotted quarter note), 2 (half note), 1T (whole note triplets), 2.
Chapter 4. Applying Effects to the Sound (Effects) 22. Feedback Pitch Shifter (Skew the Pitch) fig.MFXFPS This effect shifts the pitch of the original sound and layers it with the original sound. It can be used to play unison lines at an interval of an octave or fifth, or to layer a slightly pitch-shifted with the original sound to create a chorus effect. Screen Parameter COARSE (Coarse Pitch) Explanation Specifies the amount of pitch shift relative to the original sound, in semitone steps.
Chapter 4. Applying Effects to the Sound (Effects) Screen Parameter BALANCE (Effect Balance) OUTPUT LEVEL Explanation Specifies the volume balance between the original sound and the reverberation.With a setting of “0,” no reverb sound will be output. Specifies the output volume from the reverb effect. Value 0–100 (%) Y 0–127 24. Gate Reverb (Sharply Cut the Reverberation) fig.MFXGTR This is a type of reverb, in which the reverberation is cut off before the natural completion of its decay.
Chapter 5. Replacing phrases to create a different pattern (MEGAMIX) MEGAMIX is a function which lets you play back a pattern while you exchange the musical data of one part with the data from a different pattern. You can combine phrases for each instrument to create a completely different pattern, just as if you were creating a remix. fig.AAA PATTERN A21 MEGAMIX C16 The part button of the current part will remain lit, and the part button of the selected part will go dark.
Chapter 5. Replacing phrases to create a different pattern (MEGAMIX) When you have used MEGAMIX to create a pattern that you like, you can save it as a User Pattern. The saved pattern can be recalled during normal pattern playback, just as any other pattern. If you edit another pattern, switch to Song mode, or turn off the power without saving the pattern you recorded or edited, your edits will be lost. * You must stop pattern playback before saving the pattern. 1. Use MEGAMIX to create a pattern. 2.
Chapter 6. Creating an Original Pattern Creating a pattern Two methods of creating an original pattern are available: realtime recording (a method similar to recording on a tape recorder or MD recorder), and step recording (a method by which simple button operations are used to record the pattern). * If you edit another pattern, switch to Song mode, or turn off the power without saving the pattern you recorded or edited, your edits will be lost. ➔ “Saving a pattern” (p.
Chapter 6. Creating an Original Pattern The display during realtime recording The CURRENT display will indicate the measure and beat being recorded. The NEXT display will indicate the number of measures in the entire pattern. (Example) Measure 3, beat 2, pattern length is 8 measures The current recording location (grid line) within the measure is also shown by the beat scan indicators.
Chapter 6. Creating an Original Pattern Inputting notes one by one (Step Recording) 1. Press [PATTERN] to enter Pattern mode. 2. Turn [VALUE] to select the number of the pattern that you wish to create, and press [ENTER]. The display during step recording The CURRENT display will indicate the measure and beat being recorded. The NEXT display will indicate the note number (pitch), velocity (strength), and duration (length) of the note (event) at the note input location (grid line).
Chapter 6. Creating an Original Pattern Inputting notes Using the D-FIELD to enter notes Changing the location at which to input notes During step recording, you can press the eight areas of the DFIELD to record efficiently. Turn [VALUE] to move to the next (previous) grid line. fig.Pad Hold down [HOLD] and turn [VALUE] to move in steps of a tick. When you reach the end of the measure, you will move to the next (previous) measure.
Chapter 6. Creating an Original Pattern Modifying a note that you input (Note Edit) Adjusting the location of a previously input note You can modify the pitch, strength, and length of an alreadyentered note. You can move the location of a previously input note (Move Note), or copy it to a different location (Copy Note). 1. During step recording, turn [VALUE] or use the DFIELD to move to the location of the note that you wish to edit (p. 63). 1.
Chapter 6. Creating an Original Pattern Editing a pattern (Pattern Edit) The process of editing the performance data of a pattern in measure units is called Pattern Editing. By editing the performance data in a pattern, or by combining various patterns, you can create a completely new pattern. Basic procedure for pattern editing 1. Press [PATTERN] to enter Pattern mode. 2. Turn [VALUE] to select the pattern that you wish to edit. 3. Press [EDIT].
Chapter 6. Creating an Original Pattern Copying a pattern (Pattern Copy) fig.PTNCPY This operation copies a pattern to a different pattern. Display Parameter SOURCE Explanation Select the data that you wish to copy. * Press the part button [R] or [1]–[7] of the part whose data you wish to erase, getting its indicator to light. TOP/END Specify the range of measures that will be copied.
Chapter 6. Creating an Original Pattern Erasing unwanted data (Erase) fig.PTNERS Inserting blank measures (Insert Measure) fig.PTNINS This operation erases part (or all) of the data in a pattern. Display Explanation Specify the range of measures that will be erased. The CURRENT display indicates the first measure, and the NEXT display indicates the last measure. Setting 001– END Press the part button [R] or [1]–[7] of the part whose data you wish to erase, getting its indicator to light.
Chapter 6. Creating an Original Pattern Changing the strength of the notes (Change Velocity) Thinning out unnecessary data (Data Thin) fig.PTNCVL fig.PTNDTH This operation changes the velocity (strength) of the notes recorded in the pattern. Higher settings will cause the notes to be played more strongly. Use this when you want to make the notes stronger or weaker.
Chapter 7. Playing and Creating Songs Playing a song A song consists of two or more patterns connected in the desired order of playback. 1. Press [ENTER] during song playback. When you play back a song, the patterns will be selected automatically in the specified order, so you do not need to select them yourself. For each song, you can register up to 50 patterns in the desired order of playback. 1. Press [SONG] to enter Song mode.
Chapter 7. Playing and Creating Songs Creating a song (Song Recording) • Tempo (BPM) can be input/edited only for the first step. You can input patterns one by one to specify the order in which the patterns will be played back. The playback order of the patterns is indicated by a number called the step. 1. Press [SONG] to enter Song mode. 2. Turn [VALUE] to select the song number that you wish to create. 3. Press [ [ ]. • Tempo cannot be changed during the song.
Chapter 7. Playing and Creating Songs Inserting a step (Step Insert) You can insert a step into the middle of a song, causing subsequent steps to be moved back by one step. Editing a song (Song Edit) * You must stop song playback before editing a song. fig.7-02 Erasing a song (Song Clear) 1 2 3 4 5 1 2 3 2 4 5 When this operation is executed, all the steps you input will be set to an empty state. This is convenient when you wish to create a song from scratch. 6 1.
Chapter 7. Playing and Creating Songs Copying a song (Song Copy) Saving a song This operation copies the song data to a different song. When you have created a song that you like, you should save that song as a user song. 1. Press [SONG] to enter Song mode. If you wish to save the song with the changes you made, use the following procedure to save it. 2. Turn [VALUE] to select the copy-source song. 3. Press [EDIT]. 1. Press [SONG] to enter Song mode. 4.
Chapter 8. System Settings and MIDI Applications Making system settings (System) Here you can make settings that affect the operation of the entire D2, such as tuning and the synchronization method. * It is not possible to enter these set-up screens while a pattern or song is being played back. System setting parameters are saved to internal memory when you move to another screen by pressing [EXIT] (or in some other way).
Chapter 8. System Settings and MIDI Applications Sequencer settings Indication Parameter SYNC MODE Explanation Specifies how the internal sequencer will operate and how MIDI Clock messages will be transmitted and received. Values INT: The internal sequencer will synchronize to the internal tempo clock. Any MIDI Clock messages received from an external device will be ignored. REMOTE: Operation will be essentially the same as “INT.
Chapter 8. System Settings and MIDI Applications Parameter RPS TRIGGER QUANTIZE Explanation When using RPS during pattern playback, patterns and phrases may not play back in precise alignment, depending on the timing at which you press the D-FIELD. On the D2 you can specify the playback timing of the phrase, so it will play back in precise synchronization with the pattern.
Chapter 8. System Settings and MIDI Applications MIDI transmission settings Indication Parameter TX MODE (transmit mode) TX BULK (bulk transmit) Explanation Specifies the types of MIDI message that will be transmitted. At the factory settings, this is set to “MODE1.” When using a MIDI connection to a D2, MC-307, MC-505, or JX-305, setting this to MODE2 will reduce the amount of data transmitted and received, in comparison to MODE1.
Chapter 8. System Settings and MIDI Applications MIDI reception settings Parameter AUTO CHANNEL Explanation Determines how MIDI messages will be received from external MIDI devices. * At the factory settings this is set to “OFF.” * Set this “OFF” if you want note messages of the channel specified as the Arpeggio Control Channel or RPS Control Channel to control arpeggios or RPS from an external device.
Chapter 8. System Settings and MIDI Applications Advanced Operation Using MIDI About MIDI The D2 records and plays back MIDI musical data, and when MIDI musical data is received its sound generator will produce sound. MIDI (Musical Instrument Digital Interface) is a standard specification that allows musical data to be exchanged between electronic musical instruments and computers. Devices that have a MIDI connector can be connected using a MIDI cable, allowing them to transmit and receive data.
Chapter 8. System Settings and MIDI Applications Using the D2 together with an external MIDI device Using an external MIDI keyboard to record on the D2 Use these settings when you wish to perform on an external MIDI keyboard and record on the D2. Set the Auto Channel to “ON” (p. 77). fig.8-3 MIDI Ch = 1–16 Playing an external MIDI device using the D2 The D2 can transmit D-FIELD operations from its MIDI OUT connector.
Chapter 8. System Settings and MIDI Applications Synchronization with an External MIDI Device Timing of the D2’s sequencer can be synchronized with that of another sequencer for playback. This feature enables largescale performance playing back a number of parts at the same time. Making an external MIDI sequencer synchronized with playback on the D2 Now, let’s make D2’s patterns synchronized with an external MIDI sequencer.
Chapter 8. System Settings and MIDI Applications Saving data on an external sequencer (Bulk Dump) Reception (bulk load) procedure Data for the currently selected pattern or for all data in memory can be transmitted from the D2 to another D2, or to an external MIDI sequencer (such as the Roland MC-80) for saving. Transmitting this data is called bulk dump, and receiving this data is called bulk load.
Troubleshooting If the D2 stops producing sound, or if it does not function the way you expect, please check the following points first. If checking these points does not resolve the problem, please contact your dealer or a nearby Roland service center. * Roland can take no responsibility for the recovery of any lost data, or for any damages incurred as a result of such loss. Problem No sound Part R does not sound Sound is interrupted Some notes continue sounding unnaturally.
Error Message List If the D2 is operated incorrectly or if an operation could not be executed correctly, an error message will be displayed. Take the appropriate action for the error message that is displayed. Meaning There is a problem with the internal system. Action Please contact your dealer or a nearby Roland service center. It is possible that the contents of user memory have been lost. Please perform the Factory Reset operation (p. 14).
Preset Patch List Preset A (CC#0 = 81, CC#32 = 0) Preset B (CC#0 = 81, CC#32 = 1) Preset C (CC#0 = 81, CC#32 = 2) No. Name No. Name No. Name No. Name No.
Preset Patch List Preset E (CC#0 = 84, CC#32 = 0) No. Name No. Name No. Name No. Name No.
Preset Rhythm Set List * The Rhythm Group column shows the button that can be pressed to mute that rhythm tone. P: A 01–26 (CC#0 = 81, CC#32 = 0), P: B 01–04 (CC#0 = 84, CC#32 = 0), User: 01–20 (CC#0 = 85, CC#32 = 0) Note No.
Preset Rhythm Set List C2 36 37 38 39 40 41 42 43 44 45 46 47 C3 48 49 50 51 52 53 54 55 56 57 58 59 C4 60 61 62 63 64 65 66 67 68 69 70 71 C5 72 73 74 75 76 77 78 79 80 81 82 83 C6 84 85 86 87 88 89 90 91 92 93 94 95 C7 96 97 98 Rhythm Group P: A06 Techno 2 P: A07 Techno 3 P: A08 Hardcore P: A09 Ambient P: A10 House 1 BD BD TOM/PERC SD CLP SD TOM/PERC HH TOM/PERC HH TOM/PERC HH BD BD TOM/PERC SD CLP SD TOM/PERC HH TOM/PERC HH TOM/PERC HH TOM/PERC TOM/PERC CYM TOM/PERC CYM CYM CYM TOM/PERC
Preset Rhythm Set List Note No.
Preset Rhythm Set List C2 36 37 38 39 40 41 42 43 44 45 46 47 C3 48 49 50 51 52 53 54 55 56 57 58 59 C4 60 61 62 63 64 65 66 67 68 69 70 71 C5 72 73 74 75 76 77 78 79 80 81 82 83 C6 84 85 86 87 88 89 90 91 92 93 94 95 C7 96 97 98 Rhythm Group P: A16 Hip-Hop 2 P: A17 Funk P: A18 Electro P: A19 Jazz P: A20 Brush BD BD TOM/PERC SD CLP SD TOM/PERC HH TOM/PERC HH TOM/PERC HH BD BD TOM/PERC SD CLP SD TOM/PERC HH TOM/PERC HH TOM/PERC HH TOM/PERC TOM/PERC CYM TOM/PERC CYM CYM CYM TOM/PERC CYM TOM/
Preset Rhythm Set List Note No.
Preset Rhythm Set List C2 36 37 38 39 40 41 42 43 44 45 46 47 C3 48 49 50 51 52 53 54 55 56 57 58 59 C4 60 61 62 63 64 65 66 67 68 69 70 71 C5 72 73 74 75 76 77 78 79 80 81 82 83 C6 84 85 86 87 88 89 90 91 92 93 94 95 C7 96 97 98 Rhythm Group P: A26 Reverse P: B01 Trance P: B02 House 3 P: B03 2step P: B04 R&B BD BD TOM/PERC SD CLP SD TOM/PERC HH TOM/PERC HH TOM/PERC HH BD BD TOM/PERC SD CLP SD TOM/PERC HH TOM/PERC HH TOM/PERC HH TOM/PERC TOM/PERC CYM TOM/PERC CYM CYM CYM TOM/PERC CYM TOM/P
Preset Pattern List No. Pattern Name BPM Mes. Programmer No. Pattern Name BPM Mes. Programmer A01 EuroTrance 1 140 8 Roland Corporation A51 Ambient 1 100 4 Cappadocia Productions A02 EuroTrance 2 140 8 Roland Corporation A52 Ambient 2 80 4 Cappadocia Productions A03 EuroTrance 3 140 8 Hans-Joerg Scheffler A53 Ambient 3 98 4 HEIGO TANI A04 EuroTrance 4 140 4 B.U.S A54 Ambient 4 93 8 Cappadocia Productions A05 EuroTrance 5 138 4 B.U.
Preset Pattern List No. Pattern Name BPM Mes. Programmer No. Pattern Name BPM Mes.
RPS Pattern List No. Pattern Name No. Pattern Name No. Pattern Name No.
RPS Set List D-FIELD No. Pattern Name D-FIELD No. 1. Euro Trance 9. Ambient 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 B58 C24 B91 C63 C70 D20 C60 D54 Trance Drums 1 Trance Bass 1 Drums Fill 1 Synth Riff 1 Synth Riff 8 Synth Lead 1 Synth Seq 12 SFX 1 B67 C32 B98 C50 D15 C82 D45 D59 Pattern Name Techno Drums 4 Techno Bass 4 Drums Fill 8 Synth Seq 2 Synth Pad 8 Synth Riff 20 Brass 1 SFX 6 D-FIELD No. 25. Drum'n'Bass 1 2 3 4 5 6 7 8 B76 C40 C05 C98 C78 D04 C92 D67 10. NU-NRG 18.
Profiles of Pattern Composers B.U.S [Build Up Swing] Okada Hideki, born in 1966, debuted in 1995 with a Japanese house garage unit named Swell Emotion [DOHB disk/Epic], and is a highly acclaimed creative talent of house music. He has signed a contract with the Paratone label, and released an album as the solo project “B.U.S.” His work has appeared in the radio and TV charts, and has been praised by DJ TOMO, YO-C, DJ Shinkawa and others. He is also active as a producer for the YO-C solo album.
Waveform List Group A No Name No Name No Name 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 TB Dst Saw TB Dst Sqr 1 TB Dst Sqr 2 TB Reso Sqr1 TB Reso Sqr2 TB Saw TB SolidSaw1 TB SolidSaw2 TB Square 1 TB Square 2 TB Sqr Decay TB Natural JP8000 Saw 1 JP8000 Saw 2 MG Saw Synth Saw 1 JP-8 Saw P5 Saw Synth Saw 2 OB Saw D-50 Saw JP-6 Square MG Square P5 Square JP-8 Pulse JP-6 Pulse
MIDI Implementation Model: Date: Version: D2 (groovebox) Mar. 12, 2001 1.00 Symbol n vv kk xx Description MIDI Channel Control value Note Number ON/OFF ❍Expression (Controller number 11) status 2nd byte 3rd byte BnH 0BH vvH * Expression messages are used to adjust the volume of each part. Range 0H–6H,9H (ch.1–ch.7,ch.10) 00H–7FH (0–127) 00H–7FH (0–127) 00H–3FH (0–63:OFF), 40H–7FH (64–127:ON) 1.
MIDI Implementation ● Program Change ●Poly (Controller number 127) status 2nd byte CnH ppH pp=Program number: 00H–7FH (prog.1–prog.128) status BnH * ●Channel Aftertouch status 2nd byte DnH vvH * ■System Realtime messages The effect will apply according to the Aftertouch Control setting. ●Timing Clock status F8H status 2nd byte 3rd byte EnH llH mmH mm,ll=Pitch Bend value:00 00H–40 00H–7F 7FH (-8192–0–+8191) * The effect will apply according to the Pitch Bend Control setting.
MIDI Implementation 11H aaH bbH ccH ddH ssH ttH uuH vvH sum F7H * * command ID (RQ1) address MSB address address address LSB size MSB size size size LSB checksum EOX (End Of Exclusive) For the address, size, and checksum, refer to “Examples of system exclusive messages and calculating the checksum” (p. 107). This message is not received if the Rx.System Exclusive Switch Switch parameter is OFF.
MIDI Implementation ●Data Set 1 ❍Hold 2 (Controller number 69) 2nd byte 45H 3rd byte xxH status F0H ❍Portamento control (Controller number 84) status BnH * 2nd byte 54H 3rd byte kkH For the functions of other controller numbers, refer to “Table of Transmitted Data” (p. 76). ●Program Change status 2nd byte CnH ppH pp=Program number: 00H - 7FH (prog.1 - prog.128) * This message is not transmitted when the Tx Program Change Switch parameter is OFF.
MIDI Implementation ●Omni Off (Controller number 124) ●Start status BnH status FAH * 2nd byte 7CH 3rd byte 00H The same processing will be done as when an All Note Off message is received. * This message will be received if the Sync Mode parameter is SLAVE or REMOTE. ●Omni On (Controller number 125) ●Continue status BnH status FBH * 2nd byte 7DH 3rd byte 00H The same processing will be done as when an All Note Off message is received.
MIDI Implementation ●Start ■1-1-2.Scale Tune status FAH * This message is transmitted if the Sync out is ON.
MIDI Implementation CTRL2 Drive 0 - 127 CTRL3 AMP Type 0 - 3 SMALL,BUILTIN,2STACK,3STACK CTRL4 Output Pan 0 - 127 L64 - 63R CTRL5 Output Level 0 - 127 -------------------------------------------------------------------------------Type 4: DISTORTION CTRL1 Input Level 0 - 127 CTRL2 Drive 0 - 127 CTRL3 AMP Type 0 - 3 SMALL,BUILTIN,2STACK,3STACK CTRL4 Output Pan 0 - 127 L64 - 63R CTRL5 Output Level 0 - 127 -------------------------------------------------------------------------------Type 5: Lo-Fi CTRL1 BitDow
MIDI Implementation +——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | Patch Common 1—3—1 | | 10 00 | Patch Tone 1 1—3—2 | | 12 00 | Patch Tone 2 | | 14 00 | Patch Tone 3 | | 16 00 | Patch Tone 4 | +——————————————————————————————————————————————————————————————————————————————+ ■1-3-1.
MIDI Implementation ■1-4-2.Rhythm Note ■3.
MIDI Implementation 6. Supplementary material 46 (total) ÷ 128 = 0 (quotient)...46 (remainder) checksum = 128 - 46 (quotient) = 82 = 52H ■Examples of MIDI messages This means that the message transmitted will be F0 41 10 00 0B 12 01 00 00 28 05 52 F7. 92 3E 5F 9n is the Note On status and ‘n’ is the MIDI channel number. Since 2H = 2, 3EH = 62, and 5FH = 95, this is a Note On message of MIDI CH = 3, note number 62 (note name D4) and velocity 95.
MIDI Implementation groovebox (Sound Generator Section) Date : Mar. 8, 2001 MIDI Implementation Chart Model D2 Transmitted Function...
MIDI Implementation goovebox (Sequencer Section) Date : Mar. 8, 2001 MIDI Implementation Chart Model D2 Transmitted Function... Basic Channel Default Changed 1–7, 10 X Mode Default Messages Altered Mode 3 OMINI OFF, POLY Recognized Remarks 1–7, 10 X *1 Version : 1.00 There is no basic channel.
Specifications D2 (GROOVEBOX) Controller D-FIELD Controller Sound generator: Maximum Polyphony 64 voices Connectors Parts 16 (Main: 8 + RPS: 8) Headphones Jack (Stereo miniature phone type) Patches Output Jacks (L, R) (RCA phono type) Preset 600 MIDI Connectors (IN/OUT) User 256 DC IN Jack Rhythm set Preset 30 User 20 Effects Power Supply AC Adaptor (DC9V) Current Draw Reverb 6 Delay 2 MFX 25 1000 mA Dimensions 325 (W) x 256 (D) x 55 (H) mm Sequencer: 12-13/16 (W) x 10-1/8 (D
Index 4 Band EQ ....................................................................... 45 FILTER ...................................................................... 21, 33 Flanger ...................................................................... 53–54 A G AC adaptor jack ............................................................. 11 ADLIB ................................................................. 21–22, 24 Advanced Operation Using MIDI ..............................
Index PATTERN ....................................................................... 15 pattern ............................................................................. 60 PATTERN CALL ........................................................... 30 Pattern Edit .................................................................... 65 Change Gate Time ................................................... 68 Change Velocity ....................................................... 68 Data Thin ...............
MEMO
MEMO
For EU Countries This product complies with the requirements of European Directive 89/336/EEC. For the USA FEDERAL COMMUNICATIONS COMMISSION RADIO FREQUENCY INTERFERENCE STATEMENT This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation.
Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. AFRICA CRISTOFORI MUSIC PTE LTD PANAMA ITALY ISRAEL SUPRO MUNDIAL, S.A. Roland Italy S. p. A. EGYPT Blk 3014, Bedok Industrial Park E, #02-2148, SINGAPORE 489980 TEL: 243 9555 Boulevard Andrews, Albrook, Panama City, REP. DE PANAMA TEL: (507) 315-0101 Viale delle Industrie 8, 20020 Arese, Milano, ITALY TEL: (02) 937-78300 Halilit P.
