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              Patch Editor and Librarian for the Roland MT-32
                               by John Davis

                                Version 1.0

          Roland's MT-32 is a pretty powerful little machine.
     Unfortunately, a lot of that power can't be accessed with the
     front panel controls.  This program is an attempt to release some
     of that power.

          This editor incorporates all I've been able to learn about
     the MT-32 through magazines, D-50 programming manuals, and
     Roland's product support (all they could tell me was 'I don't know
     how it works, but it must, since other people have written editors
     for it...').  Keep in mind that there are probably errors (minor,
     hopefully!) in the program and documentation, which can only be
     fixed with YOUR feedback!

          Let's get the begging out of the way first.  This program is
     shareware.  That means you are free to use it for a reasonable
     period of time to determine whether or not it meets your needs.
     If it does, you are requested to send a donation of $15 to the
     author.  If not, simply destroy your copy of the program.
     Commercial editors for the MT-32 will usually set you back about
     $100, so I don't think asking $15 for this program is too much out
     of line.  In addition, you can be assured that the program will be
     updated and enhanced as long as people are registering.  You won't
     have to pay for these updates either, they'll be available for
     downloading on any of the commercial services or my personal BBS.

          I've already started adding new features to the program, see
     the README file on the disk for details.

          To register your copy of the program, send $15 to:

               John Davis
               4501 61st
               Lubbock, TX  79414

          I can be reached for comments, suggestions, etc at:

               GEnie          J.W.DAVIS
               Compuserve     72465,227
               L.A.C.E. BBS   (806)792-3317 (Leave feedback to sysop)

          L.A.C.E. BBS will always have the most current version of the
     program available, as well as any patches I have available.  By
     the way, I've tried shareware before with my PLAYER 1.1
     enhancement utility for Music Studio songs.  To the half-dozen or
     so of you that registered - thanks.

                         L/A Synthesis on the MT-32

          The MT-32 uses 'almost' the same method of L/A Synthesis as
     the very popular D-50, but there are some differences in the voice
     structure.  Here in a nutshell is the voice architecture of the


          A Partial is the basic building block of the instrument
     voice.  A Partial can be either a digitally generated synth
     waveform, or a PCM sample.  A synth waveform can be either a
     square wave or a sawtooth, and both waves can have their width
     adjusted, so that any width of square wave or sawtooth/triangle
     can be generated.  A PCM sample is a short sample of a real sound
     such as a piano hammer, bow attack, or breath noise, and may or
     may not be looped.  Here lies one of the big differences between
     the D-50 and MT-32.  The D-50 contains 100 PCM samples, the MT-32
     contains 128, and the samples are not the same in the two
     instruments.  At the end of this documentation I've provided a
     list of the samples contained in each machine, which should aid in
     converting sounds from one synth to the other.

          Each type of partial has an associated collection of
     submodules, including amplitude,filter, and pitch envelope
     generators.  The D-50 has 3 LFO's, while the MT-32 has only one,
     and it's hardwired to pitch.


          Now we take a pair of partials, and arrange them in a
     'structure', to form a tone.  A 'structure' in L/A synthesis is
     the equivalent of an 'operator' in FM synthesis.  The output of
     the two partials are mixed together into a single output (with the
     exception of structures 8 and 9, see below), and there are a
     number of ways to mix the partials.  In the D-50, they are:

          1.  Synth + Synth
          2.  Synth + Synth with Ring Modulation
          3.  PCM Sample + Synth
          4.  PCM Sample + Synth with Ring Modulation
          5.  Synth + PCM Sample with Ring Modulation
          6.  PCM + PCM
          7.  PCM + PCM with Ring Modulation

     The MT-32 contains six additional structures which aren't found
     in the D-50:

          8.  Synth + Synth
          9.  PCM Sample + Pcm Sample
         10.  Synth + Synth with Ring Modulation
         11.  PCM Sample + Synth with Ring Modulation
         12.  Synth + PCM Sample with Ring Modulation
         13.  PCM Sample + PCM Sample with Ring Modulation

     Structures 8 and 9 are similar to structures 1 and 2, with the
     exception that 8 and 9 are stereo.  The location of the partial
     pair in the stereo field is determined by the pan pot setting of
     the part it is being played through.

     In structures 2-7, where ring modulation is involved, the sound of
     the partial is always heard both modulated and unmodulated.  In
     structures 10-13, only the modulated sound is heard.

          Another notable difference in the two machines appears here -
     the pitch envelope generator in the D-50 affects both partials in
     a tone.  The MT-32 has a seperate pitch envelope generator for
     each partial.

          In the MT-32, two tones are always combined into a 'Timbre'.
     A Timbre is the sound you hear when you turn the SELECT/VOLUME
     knob on the MT-32 front panel.


          The final element in the sound is a patch.  In the MT-32, a
     patch is used to select a timbre, adjust tuning, set the pitch
     bend range, select Assign Mode, and turn reverb on or off.

          The MT-32 contains 128 timbres in rom (which can't be
     changed), and 128 patches (which can be changed.)  In addition,
     there is ram storage for 64 user defined timbres, giving a total
     of 192 different timbres available.  It is important to remember
     that patches can't be accessed from the MT-32 front panel -
     turning the knob simply selects one of the 128 built in timbres.
     To access the extra voices, it is necessary to first put the extra
     timbres in memory, then edit the patches to assign the new timbres
     to a patch number.  You must then send a program change request
     via midi to select the patch - the SELECT/VOLUME knob will never
     see it.

          Finally, the ram memory in the MT-32 is not backed up by
     battery - turning the machine off and back on will erase
     everything and restore the machine to the factory defaults.
     Perhaps some hardware hacker out there can figure out how to
     install a battery....

                              Using The Editor

          Before the editor and MT-32 can talk to each other, they must
     first be assigned the same UNIT number.  The MT-32 and editor both
     default to Unit 17 when started.  If for some reason you have
     changed the Unit # on your MT-32 (ie you have more than one),
     select UNIT from the drop down menu, and click on the unit number
     of the MT-32 you want to talk to.  Also, the editor requires that
     Midi-In and Midi-Out both be connected to the MT-32.  Data is
     transferred using the Handshake transfer procedure, and will fail
     if both cables are not connected.   (I am currently rewritting the
     data transfer procedures so that a keyboard can be connected to
     midi-in on the ST, and midi-thru will always be available for
     testing out your creations with the keyboard.)

          Before using the editor, it is important to distinguish the
     two types of memory in the MT-32.  The first is called 'Temporary
     Memory'.  Anytime a timbre is selected (either via the control
     knob or a program change request), it is moved into temporary
     memory.  There are 9 groups of temporary memory - 1 each for
     synthesizer parts 1-8, and one for rhythm.  This temporary memory
     contains the sounds you hear, and can be edited just like the
     storage memory.  While editing, it is possible to select which
     temporary memory you are working on by selecting PART, then
     clicking on one of the eight parts.  Editing temporary memory is
     only slightly useful*, all changes in temporary memory are lost
     when a new voice is selected, with the exception of the
     instruments' volume level and panpot setting.

     (*  Temporary memory could actually be quite useful if you are
     using a sequencer and don't plan on sending program change
     requests.  It's a pain to dial up each individual part with the
     knob.  I've considered adding a feature which will allow you to
     select instruments for each part, and save these settings to a
     sysex disk file.  This file could then be transmitted at the
     beginning of the song and configure the MT-32 automatically.  Let
     me know of you thing this would be a useful feature.)

          All changes to temporary memory are just that - there is no
     provision in this version of the program for saving temporary
     memory to a disk file.

          'Storage Memory' is where the data for your 64 timbres and
     128 patches is kept.  When you edit storage memory, you are
     actually moving it into temporary memory, making changes, then
     moving it back to storage memory.

          To make some new sounds, the first thing to do is get some
     data into the editors' timbre bank.  This can be done from the
     menu selection FILE by selecting either MT32 -> COMPUTER or DISK
     FILE -> COMPUTER.  MT32 -> COMPUTER will transfer the timbre memory
     from the MT-32 into the editor, where it can be edited, then sent
     back (COMPUTER -> MT32), or saved to a disk file (COMPUTER ->
     DISK).  Data transfer from the FILE menu only moves timbre data,
     patch,system, and rhythm memory is accessed differently.

          I had originally intended to provide several banks on the
     screen so that you could transfer voices between them.  To save
     memory and screen space, I came up with another solution.
     Whenever loading or saving timbre memory (either to a disk file or
     the MT-32), you are first asked for a range of timbres.  Only
     timbres in this range will be loaded into the ST or sent to the
     MT-32.  To customize a bank of sounds, first load the ST with a
     bank, then group the sounds together using the COPY/MOVE functions
     in the editor.   Send this group to the MT-32 by entering the
     proper voice numbers in the from/to fields, then repeat the
     process.  Group your voices into different bank locations this
     time, and send the new group.  Each time you send a new group, it
     will be merged into the existing data without changing voices
     which are outside the selected range.  After you've got everything
     organized in the MT-32, transfer it's data (MT-32 -> COMPUTER) to
     the ST, then save it as a disk file.

          After you've got some data into the editor, select STORAGE
     MEMORY/TIMBRE MEMORY from the EDIT menu.  A dialog will be drawn
     which displays the names of the 64 voices loaded, along with
     buttons for copying, moving, etc.  To select any voice for
     editing, click on the voice name, then click the EDIT button.  A
     new dialog will be drawn which shows all of the data that can be
     edited for that timbre.  The editor defaults to data for Partial
     1, indicated in the PARTIALS box by highlighting Partial 1.  To
     select another partial, simply click on it, and the dialog will be
     redrawn with the new data.  Notice that the box named COMMON is
     not redrawn - it contains data that applies to the entire Timbre.
     In the COMMON box are 4 buttons (labeled Partial Mute) which can
     be used to turn a partial on or off.  If a partial is on (ie you
     can hear it), it's button will be highlighted.

          Another box called MENU contains 3 active selections -
     LISTEN, ABANDON, and FINISHED.  Selecting Finished will keep all
     changes made to the current voice and return to the Library
     dialog, while Abandon forgets all the changes you made before
     returning.  Since the MT-32 requires both Midi-In and Midi-Out to
     communicate, there's no easy way to hook up a keyboard to listen
     to your changes.  Clicking on LISTEN will turn your mouse into a
     Midi Note generator.  Each time the left button is pressed, a
     note will be sent, with pitch and velocity corresponding to the
     mouses location on the screen.  Moving from top to bottom will
     increase the velocity, and left to right will raise the pitch.  To
     quit listening and return to editing, click the right button.
     (Note: It is not necessary to click on LISTEN to use this
     function.  At anytime the editor is waiting for you to edit a
     value, clicking the RIGHT button will put you into Listen Mode,
     and clicking it again will take you out of it.  This will NOT work
     if you have pointed at a non-editable field and clicked the left
     button.  In that case, click the left button on an editable field,
     then the right button, or select LISTEN from the Menu box.)

     BUG ALERT!  The Listen funtion sends note-on data on the channel
     assigned to whichever PART you have selected.  The editor always
     uses PART 1 temp memory to edit the voice.  If you've selected a
     PART other than 1 from the main menu, the notes you hear will be
     coming from that part, not the voice you are editing.

          Values are edited by clicking on the desired field, then
     (while still holding the button down), roll the mouse up or down,
     then releasing the button when the desired value is displayed.
     Holding the shift key down while moving the mouse will increment
     the value in multiples of 5.   Changes are instantly sent to the
     synth, and can be auditioned with the Listen function (or unplug
     the MT-32 and plug in a keyboard - ugh!)

          Since the MT-32 manual contains no information on what the
     various parameters are - here's a crash course on the parameters
     and what they do (Correct me if I've made errors!):

                             COMMON PARAMETERS

     0 - Cancels and re-triggers the envelope with a note on event.
     1 - Envelopes are always played to completion, regardless of
         note-on events.

     STRUCTURE 1-2,3-4
     Structure used for each tone

          0.  Synth + Synth
          1.  Synth + Synth with Ring Modulation
          2.  PCM Sample + Synth
          3.  PCM Sample + Synth with Ring Modulation
          4.  Synth + PCM Sample with Ring Modulation
          5.  PCM + PCM
          6.  PCM + PCM with Ring Modulation
          7.  Synth + Synth (Stereo)
          8.  PCM + PCM (Stereo)
          9.  Synth + Synth (Ring Modulated signal only)
         10.  PCM + Synth (Ring Modulated signal only)
         11.  Synth + PCM (Ring Modulated signal only)
         12.  PCM + PCM (Ring Modulated signal only)

     Enable or Disable individual Partials


     Determines time and level settings for the Amplitude envelope.

                   /\     L3
                  /  \   / \
                 /    \/     \_Sustain_
                /     L2                \ End Level
               /                          \
               ^T1  ^T2 ^T3 ^T4          ^T5
               ^KEYON                   ^KEYOFF

     BIAS POINT 1-2
     Sets the bias point from A1 to C7.  A '>' indicates the Bias level
     is valid above the Bias Point. '<' indicates the Bias level is
     valid below the Bias Point.

     BIAS LEVEL (-12 - 0)
     The greater the negative value, the sharper the decrease in volume
     from the bias point.

     Negative values lower the volume with increased velocity; positive
     values raise the volume.

     The higher the number, the greater the change in envelope times as
     you move outward from middle C: faster as you go higher, slower as
     you go lower.

     ENV TIME V_FOLLOW (0-4)
     Higher numbers shorten T1 (attack time) with increased velocity.

     LEVEL (0-100)
     Sets volume of envelope

     SUSTAIN (0-100)
     Determines sustain level of envelope (see TVA Levels/Times above.)

                         TVF (Synth Partials Only)

     TIME1-5/LEVEL1-4 (0-100)
     Determines time and level settings for the Filter envelope.

                   /\     L3
                  /  \   / \
                 /    \/     \_Sustain_
                /     L2                \ End Level
               /                          \
               ^T1  ^T2 ^T3 ^T4          ^T5
               ^KEYON                   ^KEYOFF

     RESONANCE (0-30)
     The higher the number, the more high frequencies are heard.

     FREQUENCY (0-100)
     The higher the number, the more high frequencies heard.

     Sets the bias point from A1 to C7.  A '>' indicates the Bias level
     is valid above the Bias Point. '<' indicates the Bias level is
     valid below the Bias Point.

     BIAS LEVEL (-7 - +7)
     Positive values raise the curve; negative values lower the curve.

     The higher the number, the greater the velocity sensitivity of the

     KEYFOLLOW (A1 - C7)
     Determines how the cutoff frequency tracks the keyboard.  This is
     similar to the key follow of pitch.

     The higher the number, the greater the change in envelpe times as
     you move outward from Middle C: faster as you go higher, slower as
     you go lower.

     SUSTAIN LVL (0-100)
     Determines sustain level of envelope (see TVF Levels/Times above.)

     DEPTH (0-100)
     The higher the number, the greater the effect the TVF envelpe has
     on the cutoff frequency.

     The higher the number, the less the envelope depth the higher you
     play on the keyboard.


     Determines time and level settings for the Pitch envelope.

                  /  \
                 /    \  _ ____Sustain_
                /      \/               \  End Level
               /       L2                 \
               ^T1  ^T2 ^T3             ^T4
               ^KEYON                   ^KEYOFF

     Determines overall effect velocity on pitch.

     Determines sensitivity of LFO to Mod Wheel

     Determines frequency of LFO

     Determines amplitude of LFO

     The higher the number, the greater the change in envelope times as
     you move outward from middle C: faster as you go higher, slower as
     you go lower.

                                  WG PITCH
     Base pitch setting for Middle C.

     FINE (-50 - +50)
     Detunes pitch in a range of +- 50 cents.

     Determines how pitch corresponds to keyboard.  Settings are:

          -1   Standard Retrograde (High note on keyboard produces low
          note, low note on keyboard produces high note.

          -1/2 Retrograde tuning with 24 parts to the octave.

          -1/4 Retrograde tuning with 48 parts to the octave.

          0    Null tuning - plays same note regardless of key pressed.

          1/8  96 Parts to the octave.

          1/4  48 Parts to the octave.

          1/2  24 Parts to the octave (quarter-tone scale.)

          5/8  19 Parts to the octave.

          3/4  16 Parts to the octave.

          7/8  14 Parts to the octave.

          1    12 Parts to the octave (Standard Tuning).

          5/4  9 1/2 Parts to the octave.

          3/2  8 Parts to the octave.

          2    6 Parts to the octave (whole-tone scale).

          s1   Stretched tuning (each octave is 1 cent wider than
               standard tuning).

          s2   Stretched tuning (each octave is 5 cents wider than
               standard tuning).

     Enable or disable pitchbends.


     Select Square or Sawtooth wave form (synth partials only.)

     Sets width of waveform (synth partials only.) 0 yields 50% pulse
     width, 100 yields 97% pulse width.

     Determines velocity effect on pulse width.  With '-' values, pulse
     width becomes narrower as keys are played harder; with '+' values,
     pulse width becomes wider as keys are played harder.

     PCM WAVE# (PCM Samples only)
     Select PCM wave sample. 0-73 are attack transients and drum
     sounds, 74-127 are loops and repetitive combinations.

     Whew!  Don't forget to save your edited voices to either storage
     memory or a disk file when you return to the main menu.
     (Preferrably both, since the MT-32 gets amnesia when the power
     goes off.)

     The buttons COPY,MOVE,DELETE, and SWAP do just what the name
     implies.  Click on a voice, then select one of the 4 buttons.  The
     button will remain highlighted while it waits for you to select a
     destination voice - just point at where you want the voice to go
     and click again.  If you decided you don't want to carry the
     operation out (even if you clicked on OK in the confirmation
     dialog, simply click on the same voice again for the destination


          One of the big delays in getting version 1.0 of this program
     finished was the Randomize feature.  I spent over 2 weeks trying
     out different methods of randomization in an attempt to get the
     most consistent results.  I'm still not satisfied, but the current
     version is flexible enough that you should be able to get fairly
     useful voices.

          Total randomization (ie using a random number for every
     parameter in the voice) would more often than not produce an
     unusable sound.  Certain parameters require that other parameters
     are set to a certain range before they will work properly.  For
     that reason, there is one requirement that you must follow before
     randomizing voices - the entire bank must contain voices.  This
     isn't a real tough restriction, just load a bank file or transfer
     the MT-32 internals into the editor before starting.  When the
     randomization process starts, parameters which rely on other
     parameter settings will be changed by first selecting a random
     number between 1 and 64, then 'stealing' the corresponding
     parameters from that voice number and moving them to the new
     voice.  All of the other parameters will be changed by simply
     generating a random number.

          The dialog that comes up is pretty self-explainatory.  One
     section contains the individual parameters that can be randomized,
     another section allows you to select which partials will be
     randomized, and the third allows you to select the amount of
     randomization that will take place.  Selecting SUBTLE will
     produces a 20% or less chance that a parameter will be changed.
     LESS SUBTLE gives a 50-50 chance that it will be changed, and
     WIERD provides an 80% chance.

          Don't forget, before clicking on DO IT, that every voice in
     the bank will be randomized.  If there's any voices you want to
     keep, save them first!

                               PATCH EDITING

          Patch editing is similar to timbre editing, there's just not
     as many parameters!  When editing patches in temp memory, you can
     edit the usual parameters, plus the Output Level and Panpot
     settings.  Don't forget that any voice changes will obliterate
     these settings.  After you've got your parameters set, click on
     SEND (sends current patch to synth and returns to dialog, ABORT
     (forget changes and return to main menu), or FINISHED (sends
     changes to synth and returns to the main menu.)  Editing storage
     memory is a bit different - you don't have the Output Level or
     Panpot parameters, and editing is done by click-dragging.  Patches
     are loaded into and saved from the editor by clicking on the
     appropriate LOAD/SAVE buttons.  Any patch number between 1 and 128
     can be edited by clicking on and changing the patch number.

          To assign one of your own timbres to a patch, be sure to
     change TIMBRE GROUP to MEMORY, and TIMBRE NUMBER to the desired
     patch.  TIMBRE GROUPS A and B are the internal rom sounds, MEMORY
     is where your edited voices are kept, and RHYTHM selects the drum

                            EDITING SYSTEM AREA

          This function is used to change your partial reserve
     settings, as well as channel assignment for each of the 8 parts
     and rhythm.  In addition, you can also change your reverb type.
     When powered up, the MT-32 defaults to Room reverb, with a time of
     2 and a level of 6.  The system editor will also allow you to
     select Hall reverb (more 'spacious'), Plate reverb (spring-type),
     and Tap Delay.  When Tap Delay is selected, the reverb time
     setting controls the delay length.

          One misleading feature in Rolands advertising for the MT-32
     is their claim that it can play 32 voices simultaneously.  This is
     true ONLY if the sounds being played use a SINGLE partial.  Voices
     using a single partial are pretty bland - look at your sound list
     card and you'll see that each of the built in voices uses from 2-4
     partials.  In practice, you'll find that 8-12 notes are the most
     you'll be able to play at any particular instant.  There is a
     'pool' of 32 partials, and as each voice is played, it takes the
     partials it needs from that pool.  The Partial Reserve function
     allows you to reserve a selected number of partials for each part.
     For example, if you're playing a multi-timbral piece, and part 1
     has a constant 3-note chord played by an Electric Organ
     (instrument #9), you'll want to reserve 9 partials for that part
     (3 partials per voice times 3 voices.)  This guarantees that your
     Organ part will always have the partials it needs to play the
     complete chord.  Less important parts can be set to 0, which won't
     reserve any partials.  If the required partials are in the pool
     when that part needs to play, it will play the note - otherwise it
     will remain silent, since no partials were reserved for it.  The
     program doesn't check to see if you've reserved more than 32
     partials, the MT-32 will adjust your changes for you if you have.

          Selecting one of the LOAD or SAVE buttons will allow you to
     load or save your settings to a disk file.  The changes you make
     are transferred to the MT-32 if you select FINISHED.  Selecting
     CANCEL will exit you out of the dialog with sending the changes to
     the MT-32.

                          EDITING THE RHYTHM SETUP

          The rhythm setup is edited just like everything else - to
     change a value, point at it and click/drag or shift/click/drag.

          The rhythm setup dialog is initially empty.  You must first
     click on the appropriate button to either load a disk file or
     transfer the internal memory of the MT-32 into the dialog.

          In it's default configuration, the MT-32 assigns it's various
     rhythm sounds to selected notes.  Only 34 rhythm voices are
     assigned, and the remaining notes are unassigned.  You can
     actually assign up to 64 different voices to each of the keys,
     starting with key C1.  To reassign voices, first select the key
     number you want to change by click/dragging until the desired key
     is displayed.  When the mouse button is released, the dialog will
     be redrawn with the values assigned to that key.  Values can be
     then be changed by click/dragging.

          You don't have to assign rhythm voices to each key - you can
     also assign any sound you've stored in timbre memory to a key.
     (You can't assign voices in internal banks A or B, only the user
     editable memory).  Say you want to create a split keyboard setup -
     you could assign all the lower keys to a bass sound, and the upper
     keys to a piano.  If you're really dexterious, assign a bass drum,
     snare, and a cymbal to the bottom keys!  If you really want to get
     wild, edit the system memory so that another synth part is on the
     same channel as the rhythm part, and change the bias points so
     that the voice only plays within a selected range of the keyboard.
     (I've included a simple setup that demonstrates a bass/piano


                      MT-32/D50 PCM Sample Comparison

          Since the architecture if the MT-32 is very close to that of
     the D-50, it is possible to convert D-50 sounds to MT-32 sounds.
     Since the MT-32 PCM samples vary quite a bit from those in the
     D-50 (in both location and variety), the following chart is
     included to help find a substitute MT-32 PCM sample.

      *-----MT-32 PCM Sounds ------*   *---- D-50 PCM Sounds ----*

       1 Acoustic Bass Drum              1 Marimba
       2 Acoustic Snare Drum             2 Vibes
       3 Electric Snare Drum             3 Xylophone 1
       4 Acoustic Tomtom                 4 Xylophone 2
       5 Closed Hihat Attack             5 Log Bass
       6 Open HiHat Tail                 6 Hammer
       7 Crash Cymbal Attack             7 Japanese Drum
       8 Crash Cymbal Tail               8 Kalimba
       9 Ride Cymbal Attack              9 Pluck 1
      10 Rim Shot                       10 Chink
      11 Hand Clap                      11 Agogo
      12 Mute Conga                     12 Triangle
      13 High (Low) Conga               13 Bells
      14 Bongo                          14 Nail File
      15 Cowbell                        15 Pick
      16 Tambourine                     16 Low Piano
      17 Agogo Bell                     17 Mid Piano
      18 Claves                         18 High Piano
      19 Timbale                        19 Harpsichord
      20 Cabasa                         20 Harp
      21 Acoustic Piano                 21 Organ Percussion
     ---> (See Note 1 below) <---
      22 Ham&Organ (*21)                22 Steel String
      23 Trombone (*42)                 23 Nylon String
      24 Trumpet (*41)                  24 Elec. Guitar 1
      25 Breath Noise Loop              25 Elec. Guitar 2
      26 Clarinet (*31)                 26 Dirty Guitar
      27 Flute                          27 Pick Bass
      28 Steamer (*33)                  28 Pop Bass
      29 Shaku-hashi(*32)               29 Thumb Bass
      30 Alto Sax                       30 Upright Bass
      31 Baritone Sax                   31 Clarinet
      32 Marimba                        32 Breath
      33 Vibraphone                     33 Steam
      34 Xylophone                      34 High Flute
      35 Wind Bell                      35 Low Flute
      36 Fretless Bass                  36 Guiro
      37 Slap Bass Attack               37 Indian Flute
      38 Slap Bass Tail                 38 Flute Harmonic
      39 Acoustic Bass(*30)             39 Lips 1
      40 Gut Guitar                     40 Lips 2
      41 Steel Guitar                   41 Trumpet
      42 Pizzicato Strings              42 Trombone
      43 Harp                           43 Contrabass
      44 Harpsicord Loop                44 Cello
      45 Contrabass                     45 Violin Bow
      46 Violin (*45)                   46 Violins
      47 Timpani                        47 Pizzicato
      48 Orchestra Hit                  48 Drawbar Organ
      49 Indian Flute (*38)             49 High Organ
      50 Ham&Organ Loop                 50 Low Organ
      51 Bell                           51 Elec. Piano 1
      52 Telephone Bell                 52 Elec. Piano 2
      53 Ethnic                         53 Clav
      54 Stainless Steel(*74)           54 Harpsichord
     ---> (See Note 2 below) <---
      55 Acoustic Bass Drum             55 Elec. Bass
      56 Acoustic Snare Drum            56 Acoustic Bass
      57 Electric Snare Drum            57 Elec. Bass 2
      58 Acoustic Tomtom                58 Elec. Bass 3
      59 Closed Hihat Attack            59 Elec. Guitar
      60 Open Hihat Tail                60 Cello
      61 CrashCym Attack                61 Violin
      62 Crash Cymbal Tail              62 Reed
      63 Ride Cym                       63 Sax 1
      64 Rim Shot                       64 Sax 2
      65 Hand Clap                      65 Aah
      66 Mute Conga                     66 Ooh
      67 High (Low) Conga               67 Male 1
      68 Bongo                          68 Spectrum 1
      69 Cowbell                        69 Spectrum 2
      70 Tambourine                     70 Spectrum 3
      71 Agogo Bell                     71 Spectrum 4
      72 Claves                         72 Spectrum 5
      73 Timbale                        73 Spectrum 6
      74 Cabasa                         74 Spectrum 7
     ---> (See Note 3 below) <---
      75 Loop1  (Acoustic Bass D)       75 Male 2
      76 Loop2  (Acoustic Snare D)      76 Noise
      77 Loop3  (Electric Snare)        77-100  Looped combinations
      78 Loop4  (Acooustic Tomtom)              of 1-76.
      79 Loop5  (Closed Hihat Att)
      80 Loop6  (Crash Cymbal)
      81 Loop7  (Slow Ride Cymbal)
      82 Loop8  (Fast Ride Cymbal)
      83 Loop9  (Rim Shot)
      84 Loop10 (Hand Clap)
      85 Loop11 (MtConga)
      86 Loop12 (Conga)
      87 Loop13 (Bongo)
      88 Loop14 (Cowbell)
      89 Loop15 (Tamb)
      90 Loop16 (Agogo)
      91 Loop17 (Claves)
      92 Loop18 (Timbale)
      93 Loop19 (Cabasa)
      94 Loop20 (Acoustic Piano)
      95 Loop21 (Ham&Organ)
      96 Loop22 (Trombone)
      97 Loop23 (Trumpet)
      98 Loop24 (Clarinet)
      99 Loop25 (Flute)
     100 Loop26 (Steamer)
     101 Loop27 (Shaku-hachi)
     102 Loop28 (Alto Sax)
     103 Loop29 (Baritone Sax)
     104 Loop30 (Marimba)
     105 Loop31 (Vibraphone)
     106 Loop32 (Xylophone)
     107 Loop33 (Wind Bell)
     108 Loop34 (Fretless Bass)
     109 Loop35 (Slap Bass Attack)
     110 Loop36 (Acoustic Bass)
     111 Loop37 (Gut Guitar)
     112 Loop38 (Steel Guitar)
     113 Loop39 (Pizzicato Strs)
     114 Loop40 (Harp)
     115 Loop41 (Contrabass)
     116 Loop42 (Violin)
     117 Loop43 (Timpani)
     118 Loop44 (Orchestra Hit)
     119 Loop45 (Indian Flute)
     120 Loop46 
     121 Loop47 
     122 Loop48 
     123 Loop49 
     124 Loop50 
     125 Loop51 
     126 Loop52 
     127 Loop53 
     127 Loop54
     128 Loop55

                              ---> Notes <---

       1.  MT-32 samples which have a number in parenthesis indicate
     that the sample is identical to the one contained in the D-50.
     The number in parenthesis indicates the corresponding D-50 sample.

       2.  MT-32 rhythm samples 55-74 are identical to MT-32 samples
     1-20, with the exception that samples 55-74 are not affected by
     Master Tune.

       3.  Samples 75-119 are loops of the single sample in
     parenthesis.  Samples 120-128 are looped combinations of samples.