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MT32ED
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
MT-32.
PARTIALS
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.
TONES
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.
PATCHES
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
ENVELOPE MODE
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)
PARTIAL MUTE
Enable or Disable individual Partials
TVA
TIME1-5/LEVEL1-4
Determines time and level settings for the Amplitude envelope.
L1
/\ 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.
VELOCITY SENSITIVITY (-50 - +50)
Negative values lower the volume with increased velocity; positive
values raise the volume.
ENV TIME KEYFOLLOW (0 - 4)
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.
L1
/\ 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.
BIAS POINT
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.
VELOCITY SENSITIVITY (0-100)
The higher the number, the greater the velocity sensitivity of the
envelope.
KEYFOLLOW (A1 - C7)
Determines how the cutoff frequency tracks the keyboard. This is
similar to the key follow of pitch.
ENV TIME KEYFOLLOW (0-4)
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.
DEPTH KEYFOLLOW (0-4)
The higher the number, the less the envelope depth the higher you
play on the keyboard.
PITCH
TIME1-4/LEVEL1-3
Determines time and level settings for the Pitch envelope.
L1
/\
/ \
/ \ _ ____Sustain_
/ \/ \ End Level
/ L2 \
^T1 ^T2 ^T3 ^T4
^KEYON ^KEYOFF
VELOCITY SENSITIVITY
Determines overall effect velocity on pitch.
LFO SENSITIVITY
Determines sensitivity of LFO to Mod Wheel
LFO RATE
Determines frequency of LFO
LFO DEPTH
Determines amplitude of LFO
TIME KEYFOLLOW
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
COARSE
Base pitch setting for Middle C.
FINE (-50 - +50)
Detunes pitch in a range of +- 50 cents.
KEY FOLLOW
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).
PITCHBEND
Enable or disable pitchbends.
WAVEFORM
WAVEFORM
Select Square or Sawtooth wave form (synth partials only.)
PULSE WIDTH
Sets width of waveform (synth partials only.) 0 yields 50% pulse
width, 100 yields 97% pulse width.
PW VEL SNS
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
voice.)
RANDOMIZE
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
sounds.
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
split.)
----------------------------
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.