Roland EM-30 - Advanced Parameter Settings; More Parameters

Lower). See also page 24 for the Upper parts. LWR
Octv works in much the same way.
MDrShift
(Off, dWN, UP, Default: Off). This parameter allows
you to shift the EM-50/30's keyboard in order to play
drum/percussion sounds that are currently not acces-
sible. See also “Playing other drum/percussion sounds
(MDr Shift)" on page 27.
TrpValue (Transpose interval)
(712-12, Default: 1) Use this parameter to transpose
the EM-50/30 in semitones. What exactly will be
transposed depends on the setting for the TrpMode
parameter (see below). If you're not sure what trans-
position is, see “Transpose” on page 23. This parame-
ter can also be selected by holding down the [TRANS-
POSE] button.
TrpMode (Transpose Mode)
(Default: I-S) This parameter allows you to select what
parts (and sections) are affected by the Transpose
interval.
INT—Only the internal (Realtime and Arranger)
parts are transposed.
SNG—Only the Recorder (Song) parts are trans-
posed.
MID-—Only the note messages received via the
EM-50/30's MIDI IN connector are transposed. Select
this setting if you want to play to a song you play back
using an external seguencer (or your computer) with-
out changing your fingering.
1-S—The internal (Realtime and Arranger) and
Recorder Song parts are transposed.
1-M—The internal parts and the note messages
received via MIDI IN are transposed.
S-M—The Song parts and the note messages received
via MIDI IN are transposed.
ALL—AIl sections (internal, Recorder, and MIDI) are
transposed.
PB Range (Pitch Bend Range)
(0—24, Default: 2) This parameter allows you to set
the interval you obtain by pushing the
BENDER/MODULATION lever fully to the left or to
the right. You can set this parameter in semitone
steps, with a maximum of 24 semitones (2 octaves),
the default value being “2”, which should be OK in
most situations.
Note: Pitch Bend is only available for the Upper1, Upper2,
and M.Drums parts. See also page 22.
DBeamCtr
(Default: 4) This parameter allows you to assign a
function to the EM-50/30's D Beam Controller. Please
note that not all functions are available at all times.
This usually depends on whether or not certain
Arranger parts can be accessed.
EM-50/30
Note: If you plan to use the D Beam Controller while con-
trolling the Arranger, it is probably a good idea to activate
the Arr Mem function (see page 48).
One final note before we get down to the available
parameters: all options marked with a “o” apply to the
currently active Realtime parts.
1-Modulation»—Select this function if you want the
D Beam to duplicate the modulation function of the
Bender/Modulation lever.
2-Pitch Bend Up*—By moving your hand over the D
Beam, you can bend the notes of the Realtime parts
upward (make them sound higher). The extent to
which a Realtime part can be controlled depends on
the PB Range setting.
3-Pitch Bend Down9—By moving your hand over
the D Beam, you can bend the notes of the Realtime
parts downward. The extent to which a Realtime part
can be controlled depends on the PB Range setting
(see above).
Note: In the case of the two Pitch Bend options, the D
Beam value is added to the current setting of the Pitch
Bend axis of the Bender/Modulation lever. But the sum of
the D Beam and Pitch Bend values cannot exceed the
Range setting.
4—Cut&Reso Up»— (Only for Upper 1 and/or 2) By
moving your hand over the D Beam, you can vary the
filter setting of the Upper 1 and/or 2 part and make it
sound brighter and more “synthesizer-like”. This
allows you to create some nifty filter effects that are
particularly useful for Dance/Techno music. When
you move your hand outside the D Beam's range, the
Upper 1/2 part(s) return to normal.
Note: Some Tones already use the highest possible Cutoff
value by default, in which case you cannot add more over-
tones (by opening the filter even further).
Note: Sec "Selecting the Upper 1 and/or 2 part(s)" on
page 20 for how to specify which Upper part is affected by
this setting.
5-Cut&Reso Down*—(Only for Upper 1 or 2) By
moving your hand over the D Beam, you can make
the Upper 1/2 part(s) sound darker.
6, 7, 8-Arpeg 1/2/3 octaves—By moving your hand
over the D Beam, you trigger arpeggios (broken
chords) based on the notes you play in the left half of
the keyboard (Arranger or Organ mode). Depending
on the setting you select here, the notes of the left half
will be arpeggiated over 1, 2, or 3 octaves. This func-
tion uses the Upper2 Part for playing these notes.
Note: If you do not change the On setting of the Arr Int
parameter (see page 48), it is enough to play one note for
major chords, two for minor chords, etc.
9, 10, 11- Chord 1/2/3 Octv— By positioning your
hand inside the D Beam's range, you cause the
EM-50/30 to sound the notes of the chords you play
in the left half of the keyboard. You could use this
function to add syncopated brass or guitar “hits” to
your melody. The velocity value used for playing these
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